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LOUISE  ARNER  BOYD 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


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«—• 


Lowell  Mason  (1792-1872) 

Father  of  School  Music 


What  We  Hear 
in  Music 

A  Laboratory  Course  of  Study 

in 

Music  History  and  Appreciation 

for 

Four  Years  of  High  School,  Academy, 
College,  Music  Club  or  Home  Study 

I.  The  Principles  of  Music 
II.  The  History  of  Music 

III.  The  Orchestra:  The  Development 

of  Instrumental  Music 

IV.  The  Opera  and  Oratorio 

By 

Anne  Shaw  Faulkner 


Each  Course  is  divided  into  thirty  lessons  with  illustrations 
for  each  lesson,  to  be  given  with  the  Victor  Talking  Machine 


Educational    Department 

Victor  Talking  Machine  Company 

Camden,  New  Jersey 


Copyright  1913 

VICTOR  TALKING  MACHINE  COMPANY 

Camden,  New  Jersey,  U.  S.  A. 


Second  Edition. 


Foreword 


IN  this  Course  of  Study  for  High  Schools,  it  has  been  the  earnest 
desire  of  the  author  and  the  publishers  to  contribute  a  well- 
organized  plan  for  the  study  of  music  in  a  broadly  cultural  style, 
looking  toward  giving  a  working  knowledge  of  the  literature  of  music, 
rather  than  a  theoretical  study  of  the  form  and  grammar  of  the 
subject. 

The  study  of  high  school  music  must  be  arranged  to  attract,  hold 
and  EDUCATE  every  boy  and  girl,  regardless  of  whether  they  can 
sing  or  not,  and  should  furnish  opportunity,  material  and  instruction 
that  will  enable  them  to  become,  not  professional  musicians,  but  music 
lovers  and  appreciative,  intelligent  listeners,  knowing  the  world's 
music  just  as  they  know  the  history,  prose,  poetry  and  art. 

Music,  when  properly  taught,  stands  for  as  much  mental  develop- 
ment and  general  culture  as  any  other  subject  in  the  curriculum,  and 
should  receive  the  same  credits  toward  graduation  from  the  local 
school,  and  as  entrance  requirements  in  the  Colleges  and  Universities. 

To-day  the  trend  of  music  study  is  strongly  toward  appreciation, 
rather  than  theory.  It  is  impossible,  however,  to  study  appreciation  or 
interpretation  without  REAL  MUSIC  to  interpret  and  appreciate. 

Heretofore,  the  ideals  of  high  school  pupils  in  music  have  been 
virtually  limited  to  the  music  they,  themselves,  could  produce,  thus 
restricting  their  observation  to  a  very  narrow  field. 

Now  the  Victor  and  Victor-Victrola,  with  the  wonderful  list  of 
Victor  Records,  which  is  regularly  augmented  each  month,  makes  it 
possible  to  present  the  whole  subject  in  a  vital  form,  as  it  brings 
within  the  hearing  of  every  pupil  the  real  music  to  be  studied  and 
analyzed  in  consecutive  lessons,  starting  at  a  given  point,  progressing 
systematically,  and  arriving  at  a  legitimate  conclusion. 


Fo 


r  e  w  o  r 


This  Course  is  not  intended  to  take  the  place  of  the  regular 
chorus  work,  nor  to  minimize  nor  displace  the  necessary  study  in  sight 
reading,  intervals,  chromatics,  music  forms,  etc.,  but  to  be  superim- 
posed upon  the  broad  basis  of  such  foundational  work. 

Following  each  lesson  a  list  of  choruses  is  suggested  for  class  work. 
It  is  hoped  that  these  lessons  may  furnish  the  means  to  produce  a 
Nation-wide  uplift  in  the  love  and  understanding  of  good  MUSIC. 

FRANCES  ELLIOTT  CLARK. 


What  We  Hear  in  Music 


Preface 


When  listening  to  music  we  find  that  there  are  four  fundamental 
ideas  which  music  can  express.    These  ideas  are : 

1.  National  feeling. 

2.  Formal  construction. 

3.  Poetic  thought. 

4.  Program  Music.     (Narration  of  a  story.) 

Oar  entire  musical  literature  really  rests  on  the  foundation  of 
"National  Peeling"  which,  when  manifested  during  the  period  of 
the  early  folk  dance,  developed  into  those  definite  instrumental  forms 
used  at  the  time  of  Bach.  During  the  same  period  the  simple  folk 
song  shows  in  its  development,  a  marked  tendency  toward  that  school 
of  music,  which,  although  following  formal  construction,  gives  us 
also  a  wonderfully  clear  and  beautiful  idea  of  the  purity  of  tone. 

These  two  forms  reach  their  perfection  with  the  great  composer 
Beethoven,  who  has  been  designated  as  the  "culmination  of  the  Clas- 
sical School  and  the  beginning  of  the  Romantic  School."  After 
Beethoven's  day  there  is  apparent,  a  decided  tendency  toward  the 
expression  of  pure  beauty  of  tone,  and  a  marked  use  of  the  idea, 
that  all  music  shall  tell  a  definite  story  or  express  a  poetic  idea.  When 
the  composers  of  the  "Classical  Period"  had  written  "Program 
Music"  their  one  idea,  was  to  have  their  story  conform  absolutely 
to  the  formal  patterns  of  the  period,  but  with  the  rise  of  the  Romantic 
School,  melodic  expression  was  to  be  no  longer  subservient  to  formal 
outline.  Yet  as  Robert  Schumann  so  wisely  advised,  "He  who  would 
create  in  free  form  must  first  have  mastered  the  old  form  existent  for 
all  time."  It  is  interesting  to  note  that  it  was  largely  through  the 
influence  of  Bach,  many  of  whose  manuscripts  were  now  heard  for 
the  first  time,  that  the  composers  of  this  period  were  enabled  to  keep 
"Program  Music"  within  the  bounds  of  music's  true  realm. 


What      We      Hear       in       Music  —  Preface 

Yet  ever,  during  the  development  of  form,  or  poetic  content, 
and  of  program  music,  the  influence  of  the  folk,  has  been  apparent, 
and  this  strong  national  feeling  has  given  rise  in  the  modern  epoch 
to  the  development  of  the  great  schools  of  Russia,  Scandinavia  and 
Bohemia,  which  to-day  rank  with  the  Italian,  French  and  German 
schools. 

Our  most  important  and  necessary  study  of  how  to  understand 
music,  really  begins  with  a  definite  knowledge  of  these  four  funda- 
mental principles.  We  shall  spend  our  first  year  of  study  in  learning 
to  recognize  these  elements  as  they  may  be  expressed  by  the  human 
voice  or  various  instruments.  We  shall  carefully  consider  the 
national  feeling  as  expressed  in  the  simple  folk  dance  and  song  of 
the  various  countries,  and  learn  to  discriminate  between  the  racial 
peculiarities,  which  are  reflected  in  the  art  and  music  of  the  people 
of  all  lands. 

For  our  second  year's  study,  we  consider  the  historical  develop- 
ment of  music  from  ancient  times  to  our  own  day. 

In  the  third  year's  work,  we  take  up  the  closer  relationship  of 
instrumental  music  to  the  fundamental  ideas  manifested  in  Courses 
I  and  II.  We  study  carefully  the  individual  tones  of  the  instruments 
of  the  orchestra,  and  trace  the  development  of  the  larger  forms  of 
instrumental  music. 

The  fourth  year  is  devoted  to  a  study  of  the  development  of  the 
opera  and  oratorio  in  relation  to  the  development  of  musical  literature. 


Hints  for   Teachers 


These  courses  have  been  outlined  for  general  use  in  the  High 
Schools,  Colleges  and  Schools  of  Music;  but  will  be  found  equally 
attractive  and  valuable  for  the  Music  Club  and  home  study. 
The  illustrations  with  the  Victor  or  Victrola  have  been  selected 
from  the  best-known  and  greatest  musical 
works. 

It  is  the  hope  of  the  author  that 
the  use  of  the  Victor  may  bring  to  our 
boys  and  girls  in  the  American  schools 
an  increased  enjoyment  and  an  appro- 
priate understanding  of  the  true  beauty 
of  music,  which  can  only  be  found  by 
an  intimate  acquaintance  with  the  great- 
est compositions  in  musical  literature.  One 
writer  well  expressed  this  thought  when  he 
said,  "Familiarity  with  good  music  breeds 
ever  increasing  admiration,"  and  Theodore 
Thomas  truly  remarked,  "Popular  music 
is.  after  all,  only  familiar  music." 

In  arranging  these  courses  for  educational 
work,  the  idea  has  been  to  present  a  logical  and 
definite  history  of  the  development  of  music's 
growth,  and  also  to  develop  in  each  individual  stu- 
dent a  sane  musical  appreciation  of  the  greatest 
in  the  art. 

In  the  presentation  of  these  courses  it  is  nec- 
essary to  remember  that  the  fundamental  power  of 
music  is  to  give  pleasure  and  enjoyment.  Over- 
technical  analysis  may  reduce  a  poem,  a  work  of 
literature,  a  painting,  or  a  musical  composition,  to 
such  a  mass  of  detail  (little  of  which  is  compre- 
hended or  understood),  that  the  beauty  of  the  work 
as  a  whole,  is  hopelessly  lost.  It  is  equally  impor- 
tant to  remember  that  music  is  an  art  which  no 
longer  need  be  approached  with  sentiment  and 
tears,  but  must  be  considered  as  an  important 
factor   in   the   history   of   the   world's   civilization. 


ANCEL      WITH      LUTE 


ANGEL      WITH      TAM- 
BOURINE 


Hints     for     Teachers 

Remembering  Lord  Lytton's  epigram,  "The  Nine  Muses  are  one 
family,"  let  us  try  to  correlate  our  study  of  music  with  the  study  of 
history,  and  the  development  of  civilization,  as  it  is  expressed  in  the 
other  arts. 

Rl?rAT?nTMP  ^ne  Victor  records  chosen   for  each  lesson   are 

\i  \tktuat  especially  adapted  to  illustrate  certain  definite 
points,  which  are  suggested  in  the  context  of  that 
particular  lesson.  Do  not  try  to  present  to  pupils  all  the  points  of 
each  individual  composition  at  one  hearing.  Many  of  the  selections 
have  been  chosen  with  the  distinct  purpose,  that  they  may  be  later 
used  to  illustrate  other  points.  Where  the  same  record  is  used  in  this 
manner,  a  review  is  advisable.  There  is  such  a  wealth  of  material 
in  the  Victor  catalogues  that  where  a  choice  of  selection  is  possible, 
alternate  records  at  lower  cost  have  been  suggested. 

It  is  also  suggested  that  many  of  the  best-known  records  will  be 
found  in  the  homes  of  pupils,  and  may,  no  doubt,  be  procured  for  a 
particular  lesson. 

Always  write  lesson  theme,  also  title  and 
prp^t^vt  attoxt  comPoser,  on  the  blackboard.  Pupils  should  be 
provided  with  note  books  in  which  outlines  of 
these  lessons  should  be  kept,  and  these  books  should  be  freciuently 
examined  and  marked.  Relate  each  lesson  presented  with  a  short 
review  of  the  lesson  which  preceded  it,  in  order  that  pupils  may 
have  a  clear  conception  of  the  inter-relation  of  ideas  and  events.  Fol- 
low the  hints  and  questions  as  far  as  possible,  but  as  each  class  has 
its  own  individuality,  and  these  outlines  will  in  some  cases  seem  arbi- 
trary, they  may  frecpiently  need  to  be  adapted  to  the  individual  needs 
of  the  personnel  of  the  class.  Do  not  forget  that  there  are  many 
pupils  in  your  classes  who  are  having  their  first  taste  of  real  music, 
and  do  not  overcrowd  them  too  much.  Remember  also  there  are  stu- 
dents who  are  receiving  private  instruction  in  music,  and  who  should 
be  able  to  appreciate  this  work  more  easily  than  those  who  have  no 
music  in  their  home.  By  giving  simple  facts  and  analyses,  the  interest 
of  the  first  group  is  aroused,  while  the  definite  study  of  even  a  familiar 
record  gives  to  the  second  group  a  new  viewpoint. 

Always  play  the  record  used  for  illustration  entirely  through 
first,  then  play  in  fragments  with  analyses  and  discussion  as  desired ; 
lastly,  play  again  entire,  having  in  mind  all  points  brought  out  by 
the  lesson. 


Hints     for      Teachers 

Teachers  will  find  at  the  back  of  this  book  a  short 
ANALYSIS     analysis  of  every   composition  mentioned  for  illustra- 
tion.    The  numbers  on   each  program  should  be  de- 
scribed by  the  teacher  to  the  class,  the  analysis  read  and  notes  taken 
of  the  salient  points. 

Teachers    should    read    as    many    books    on 

BIBLIOGRAPHY   music  as  possible  to  enhance  the  meaning  of  these 

necessarily   brief   lessons.      For   that   purpose   a 

short  bibliography   is  provided,  and  books  marked   with  "**"   are 

especially  recommended  for  practical  use  in  school  libraries. 


The  Principles  of  Music 


COURSE  I 

Preface 

It  is  the  object  of  our  first  year's  course  to  learn  to  distinguish 
between  the  four  fundamental  ideas  of  music,  and  the  differences  in 
their  expression. 

1  Nationality,  as  expressed  in  folk  song,  folk  dance,  or  the 
characteristic  music  of  each  country. 

2.  Formal  construction,  as  developed  from  the  folk  song  and 
dance. 

3.  Poetic  thought,  a  conception  of  beauty  or  spirituality,  as 
expressed  in  song  and  instrumental  music. 

4.  Program  music,  a  tone  picture,  of  a  story,  an  action,  natural 
phenomena,  imitative  description  or  individuality. 

We  will  find  it  necessary  to  train  our  ears,  so  that  we  can  dis- 
tinguish the  difference  between  the  different  voices  and  instruments, 
and  to  carefully  consider  the  medium  as  used  to  express  these  funda- 
mental ideas. 

As  the  later  development  of  all  music  rests  on  the  parent  stock. 
Nationality,  we  shall,  therefore,  consider  in  detail  the  folk  music  of 
all  lands  and  times. 

Our  course  is  divided  into  thirty  lessons,  as  follows : 

I.  The    Difference   between    the    Fundamental    Principles    in 
Instrumental  Music. 
II.  The    Difference    between    the    Fundamental    Principles    in 
Vocal  Music. 

III.  The  Combinations  of  These  Principles. 

IV.  The  Tone  Quality  of  Women's  Voices. 
V.  The  Tone  Quality  of  Men's  Voices. 

VI.  The  Combinations  of  Women's  Voices. 
VII.  The  Combinations  of  Men's  Voices. 
VIII.  The  Combinations  of  Women's  and  Men's  Voices — I 
IX.  The  Combinations  of  Women's  and  Men's  Voices — II 
X.  The  Difference  in  Instrumental  Combinations. 
XI.  Imitation  in  Music. 
XII.  The  Classification  of  Fundamental  Principles. 
XIII.  The  Principles  of  National  Music. 

10 


The     Principles     of     Music 


XIV. 

The  Char; 

icteristic  Differences  in  the  Music;  of  Nations — I. 

XV. 

The  Characteristie  Differences  in  the  Music  of  Nations — 

XVI. 

Italy. 

XVII. 

Spain. 

XVIII. 

France. 

XIX. 

Germany. 

XX. 

Bohemia. 

XXI. 

Hungary. 

XXII. 

Russia. 

XXIII. 

Poland. 

XXIV. 

Norway. 

XXV. 

Sweden. 

XXVI. 

Ireland. 

XXVII. 

Wales. 

XXVIII. 

Scotland. 

XXIX. 

England. 

XXX. 

America. 

COURSE  I 

Lesson  I 

The  Difference  "Between  the  Fundamental  Principles  in  Instrumental  Music 

It  is  universally  recognized  that  music  is  a  language,  but  we  often 
do  not  interpret  its  meaning  correctly.  The  object  of  this  course  is 
to  learn  to  listen  to  music,  and  to  clearly  understand  the  message  of 
the  composer,  as  to  form,  content  and  beauty  of  expression. 

There  are  four  fundamental  ideas  which  music  can  express ;  these 
principles  are : 

1.  Nationality. 

2.  Definite  formal  construction. 

3.  Poetic  thought. 

4.  Story  telling  or  tone  painting. 

While  all  good  music  follows  a  definite  form  or  pattern,  we  find 
that  often  the  formal  construction  of  a  composition  is  entirely  over- 
shadowed by  the  other  elements  of  expression.  For  example,  a  com- 
position in  perfect  dance  form  impresses  us  directly  as  belonging  to 
the  second  class;  let  the  same  form  be  used,  but  couple  it  with  the 
rhythm  of  a  Bohemian  or  Russian  dance,  and  it  impresses  us  as  an 
example  of  Nationality  more  than  as  a  purely  formal  pattern.  Again, 
let  a  composition  in  perfect  song  form  reflect  the  poetic  thought,  and 


n 


The     Principles     of     Music 

it  makes  its  most  direct  appeal  as  an  example  of  the  third  principle; 
while  we  are  apt  to  entirely  forget  the  formal  pattern,  when  listen- 
ing to  music,  -which  tells  us  a  definite  story,  or  paints  for  us  a  picture 
in  tone. 

ILLUSTRATIONS 

64076  \  The  Bee     (Schubert)     (Program  Music) 

Maud  Powell    (  The  Minute  Waltz     (Chopin)     (Form) 

60051  ) 

Victor  Herbert's  \  Melody  in  F     (Rubinstein)     (Poetic  Thought) 
Orchestra        I 

Sousa^Band    |  March  Rakoczy     (Berlioz)     (Nationality) 

HINTS  FOR  STUDY 

AVrite  the  titles  of  illustrations  on  the  blackboard,  giving  the 
name  of  the  composer  and  the  artist  or  organization  playing.  Then 
ask  the  class  to  express  their  ideas  as  to  which  principle  each  composi- 
tion represents.  Designate  this  on  the  board.  Play  your  records  but 
do  not  follow  the  order  on  the  board.  Ask  the  class  to  write  on  a  slip 
of  paper  the  program  as  you  played  it,  and  which  principle  they  now 
think  is  illustrated  by  each  composition.  These  slips  may  be  corrected 
by  the  exchange  of  papers,  and  if  there  is  a  division  of  opinion  the 
record  should  be  replayed.  Corrected  slips  should  be  copied  in  note 
books  before  the  next  week's  lesson. 


QUESTIONS 

(Verbal  or  written) 

Which  composition  was  played  first?  What  principle  did  it 
illustrate?  Second?  Its  principle?  Third?  etc.  Which  two  numbers 
were  on  one  record?  By  what  instrument  were  they  played?  Which 
number  was  played  by  the  orchestra?  Which  by  a  band?  (When 
these  questions  are  answered  verbally,  answers  may  be  written  on 
the  board  and  students  will  then  have  a  correct  outline  to  copy  in 
note  books.) 

CHORUSES 

Scots  Wha'  Hae'—  Old  Scotch  (Burns).  (Air,  "Hey  Tuttie 
Taitie.") 

Now  the  Day  is  Over  (Barnby). 

12 


The     Principles     of     M u s i c 
Lesson  II 

The  Difference  'Between  the  Fundamental  Principles  in  Vocal  Music 

In  Lesson  I  we  discussed  the  four  principles  of  musical  expres- 
sion, and  we  found  all  development  of  musical  literature  rests  on  these 
elements.  We  shall  now  consider  them  more  definitely.  The  composi- 
tions which  we  studied  last  week  were  for  the  violin,  the  orchestra 
and  the  brass  band,  so  that  it  was  clearly  proven  that  our  four  princi- 
ples can  be  expressed  by  instrumental  music.  To-day  our  records  are 
for  the  voice.  Let  us  see  if  it  is  possible  to  reflect  in  vocal  music  these 
same  ideas. 

ILLUSTRATIONS 

64188  Witches'  Ride,  "  Hansel  and  Gretel  "   (Humperdinck)     Albert  Reiss 
70011  The  Swallows— Vocal  Waltz     (Dell'  Acqua)  Lucy  Marsh 

64189  Good-Bye,  Sweet  Day     (Thaxter-Vannah)  Janet  Spencer 
64160  La  Mandolinata     (Italian)                                               Emilio  de  Gogorza 

HINTS  FOR  STUDY 

Tell  the  class  the  brief  story  of  "Hansel  and  Gretel"  and  what 
this  aria  typifies. 

A  part  of  the  illustrations  have  been  chosen  in  other  languages 
than  English  for  the  special  reason  that  the  class  should  feel  that  it 
is  the  music  which  actually  represents  these  principles,  although  the 
poem  and  its  setting  should  be  identical  in  thought. 

QUESTIONS 

(Verbal) 
Which  composition  is  sung  by  soprano?  Contralto?  Tenor? 
Baritone?  Which  tells  a  story?  Is  it  easier  to  tell  stories  in  music, 
with  words  or  without?  Which  depicts  poetic  beauty?  Which  is 
national  expression?  Which  has  form?  Which  has  three  of  these 
qualities  in  combination?  Which  has  an  element  of  humor?  Which 
have  imitative  effects  in  the  instrumental  accompaniment?  If  so, 
what? 

CHORUSES 
Believe  Me,  if  All  Those   Endearing  Young  Charms    (Moore). 
(Irish  Air — "My  Lodging  is  on  the  Cold  Ground.") 

The  Old  Oaken  Bucket  (Wood worth).     Air — Araby's  Daughter. 

13 


The     Principles     of     Music 

Lesson  III 

The  Combination  of  These  Principles 

In  Lesson  II  we  found  it  was  possible  for  the  human  voice  to 
express  the  fundamental  ideas  of  music,  and  that  we  must  learn  to 
Listen  for  these  elements,  whether  we  are  hearing  instrumental  or 
vocal  music.  We  also  discovered  that  it  is  possible  for  more  than  one 
of  these  elements  to  be  heard  in  one  composition.  For  our  lesson 
to-day  we  shall  try  to  distinguish    simple  combinations  of  principles. 

ILLUSTRATIONS 

I  Spinning  Song     (Mendelssohn)  Renard  Trio 

(Piano,  Violin  and   Cello) 
Swedish  Wedding  March     (Sodermann)  Pryor's  Band 

The  first  combines  three  elements:  Program  Music  in  song  form, 
also  showing  poetic  feeling.  The  second  combines  two  elements: 
nationality,  in  the  form  of  the  march. 

HINTS  FOR  STUDY 
As  our  principal  thought  of  this  lesson  is  the  combination  of  our 
fundamental  ideas,  write  the  numbers  on  the  blackboard  and  as  class 
designates  what  each  represents,  indicate  it  on  the  board.  After  the 
records  have  been  played  there  may  be  a  short  discussion  in  which  the 
following  questions  may  be  of  service.  Then  corrections  should  be 
made  on  the  board  and  all  copied  in  note  books. 

QUESTIONS 

"What  composition  tells  us  a  story?  "Which  has  a  title?  Does  a 
title  or  name  really  indicate  that  the  composition  is  program  music? 
Which  of  these  compositions  shows  nationality?  Which  has  form? 
Which  shows  poetic  feeling?  What  elements  are  combined  in  the  first 
number?  In  the  second?  What  instruments  do  you  hear  in  the  first 
and  second? 

CHORUSES 

Lullaby  (Brahms). 

My  Old  Kentucky  Home  (Foster). 

14 


The     Principles     of     Musi 


Lesson  IV 

The  Tone  Quality  of  Women's  Voices 

We  are  now  able  to  discriminate  between  the  fundamental 
principles  of  music,  both  in  the  instrumental  and  vocal  forms, 
and  we  have  discovered  that  all  music  presents  to  us  a  definite 
thought  or  idea,  whatever  medium  is  used  for  its  presentation.  We 
must  next  learn  to  distin- 
guish the  tone  quality  of 
the  voices,  and  instruments, 
which  present  our  music  to 
us,  and  to-day  we  shall  have 
three  great  prima  donnas 
(women  singers)  who  have 
been  chosen  as  the  best  rep- 
resentatives of  the  soprano, 
mezzo-soprano  a  n  d  con- 
tralto voices. 

ILLUSTRATIONS 

88019     Voce  di  Primavera 
(Strauss) 

Mme.  Sembrich 
(Soprano) 

88085     Habanera  from 

"  Carmen  "    (Bizet) 

Mme.  Calve 
(Mezzo-Soprano) 

88191     Air— "But  the  Lord 
is    Mindful    of     His 
Own"  (Mendelssohn) 
Mme.  Schumann-Heink 
(Contralto) 

MINTING    BY    RAPHAEL  ^      CEC,L1A 

HINTS  FOR  STUDY 
In  choosing  the  illustrations  for  Lesson  IV,  it  has  been  the  idea 
to  use  records  which  may  later  be  employed  as  illustrations  of  opera 
and  oratorios.  Do  not  attempt  to  have  class  know  all  the  points 
of  greatness  of  these  numbers  at  one  hearing.  Teachers  should  care- 
fully study  the  analysis  but  not  give  too  much  to  the  class.  Let  them 
listen  first  for  the  difference  in  tone  quality  of  the  voices,  second  for 
the  principles  they  have  learned  to  recognize.     Write  program  on 

15 


The     Principles     of     Music 

the  board  and  ask  class  to  write  on  papers  which  sang  first,  and  which 
voice  sang  each  composition. 

QUESTIONS 

Which  record  was  sung  first?  Second?  Third?  Which  voice  is 
highest,  soprano  or  mezzo-soprano?  Which  is  the  clearest?  Which 
is  the  deepest  woman's  voice?  Which  of  these  numbers  represents 
pure  tone  with  poetic  feeling?  Which  has  national  feeling?  Which 
has  marked  form?  Which  is  descriptive?  In  what  form  is  the  first? 
The  second?  The  third?  Does  the  instrumental  accompaniment  aid 
in  the  expression  of  the  poetic  thought?  Program  music?  National 
feeling?    If  so,  how? 

CHORUSES 

Home,  Sweet  Home  (Payne-Bishop). 

Ben  Bolt  (Thomas  Dunn  English). 

Welcome,  Sweet  Springtime  (Rubinstein's  Melody  in  F). 


Lesson  V 

The  Tone  Quality  of  Men  s  Voices 
We  can  recognize  the  three  tone  qualities   of  women's   voices. 
Now  we  shall  listen  to  three  records  for  the  voices  of  men — tenor,  bari- 
tone and  bass. 

ILLUSTRATIONS 

74109    Come  Into  the  Garden,  Maud     (Tennyson-Balfe)     (Tenor) 

Evan  Williams 
92065     Toreador  Song— "  Carmen  "    (Bizet)    (Baritone)  Titta  Ruffo 

85020     The  Palms     (Faure)     (Bass)  Pol  Plancon 

HINTS  FOR  STUDY 
The  hints  for  Lesson  IV  apply  also  to  Lesson  V.  All  these  rec- 
ords will  be  used  again,  and  if  the  class  will  recognize  the  principles 
they  represent,  and  the  quality  of  tone  which  represents  them,  they 
should  wait  for  a  deeper  understanding  of  the  true  worth  of  the 
numbers  until  they  have  heard  them  a  second  or  third  time. 

QUESTIONS 
Which  number  is  for  tenor?     For  baritone?     For  bass?     Which 
voice  corresponds  to  mezzo-soprano  in  a  woman 's  voice  ?    Which  is  the 
deepest  voice?     Which  record  shows  national   feeling?     Which  de- 

16 


The     Principles     of     Music 

scribed  poetic  thought?     Which  combines  national  feeling  with  pro- 
gram music?    Which  is  from  opera?    Which  from  oratorio? 

CHORUSES 
Love's  Old  Sweet  Song  (Molloy). 
Out  on  the  Deep  (Frederic  N.  Lohr). 


Lesson  VI 

The  Combination  of  Women's  Voices 

We  have  learned  to  recognize  the  voices  of  both  men  and  women, 

when  heard  singly.     Let  us  now  listen  to  voices  in  combination  and 

see  if  we  can  distinguish  between  the  voices  of  women,  when  heard 

together. 

ILLUSTRATIONS 

89008     Duet  of  the  Flowers— "  Mme.  Butterfly  "     (Puccini) 

Mmes.  Farrar  and  Homer 

61143     Sea  Gull's  Cry     (Russian  Folk  Song)     (Grodski) 

Mmes.  Michailowa  and  Tugarinoff 

17180     Spring  Voices     ("  Samson  and  Delilah  ")    (Saint-Saens) 

Chorus  of  Women's  Voices 

ALTERNATES 

5864     O  Wert  Thou  in  the  Cauld  Blast     (Mendelssohn) 

Wheeler  and  Dunlap 

( Thy  Flowery  Banks  o'  Lovely  River     (Meyerbeer) 
17106  \  Wheeler,  Dunlap  and  Baker 

1  Voice  of  the  Western  Wind  (Barnby)     Wheeler,  Dunlap  and  Baker 

HINTS  FOR  STUDY 
The  opera  records  will  be  used  later  in  the  Opera  Course  in  their 
more  particular  significance.     Have  class  indicate  difference  in  voices 
by  raising  right  hand  when  soprano  sings  alone,  left  hand  when  alto. 

QUESTIONS 
Which  record  shows  national  feeling  ?    Which  is  operatic  in  char- 
acter?    Which  is  more  simple  in  form?     Which  was  sung  by  two 
voices?    Which  by  three? 

CHORUSES 

0,  Wert  Thou  in  the  Cauld  Blast  (Burns-Mendelssohn). 
I  Would  That  My  Love  (Mendelssohn). 

17 


The     Principles     of    Music 
Lesson  VII 

The  Combination  of  Men  s  Voices 

We  have  learned  to  distinguish  the  difference  in  tone  quality  of 
women's  voices  when  heard  in  combination.  We  will  now  hear  men's 
voices  in  similar  selections. 


ILLUSTRATIONS 

95206     Trio— Duel  Scene     ("Faust")     (Gounod) 

Caruso,  Scotti  and  Journet 

<,i77ol  Schon  Rottraut     (German  Song) 

\  Ewig,  liebe  Heimat     (German  Song) 


Nebe  Quartet 


ALTERNATES 

31769     Duet— Lost,  Proscribed  ("Martha") 
(Flotow) 

Werrenrath  and  Macdonough 


HINTS  FOR  TEACHERS 

The  same  selections  have  been  used 
in  the  alternates  chosen.  Class  should 
understand  in  what  scene  and  act  these 
selections  occur  in  the  operas  from  which 
they  are  taken.  (See  "The  Victor  Book  of 
the  Opera.")  Have  class  indicate  differ- 
ence in  voices  in  the  duet  by  raising  their 
hands  as  in  Lesson  VI. 


THE     SINGING      BOYS 


QUESTIONS 

Which  number  was  played  first?     Was  it  sung  by  two  voices  or 
three?    Which  by  four?    Which  depicts  nationality? 

CHORUSES 

Annie  Laurie — Boys'  Voices. 

Anvil  Chorus,  "II  Trovatore"  (Verdi). 


18 


The     Principles     of    M  u  s  i  c 
Lesson  VIII 

The  Combination  of  Women  s  and  Men 's  Voices — / 
We  have  heard  the  individual  voices  of  men  and  women ;  the 
combination  of  women's  voices  and  men's  voices;  let  us  now  hear 
combinations  of  tone  quality  of  women's  and  men's  voices  together. 
We  will  also  notice  in  these  examples  that  the  soprano  and  baritone, 
contralto  and  tenor  sing  together. 

ILLUSTRATIONS 

89018     Duet— Home  to  Our  Mountains     ("  II  Trovatore  ") 

(Verdi)  Homer  and  Caruso 

87502     Duet— Barcarolle     ("  Tales  of  Hoffman  ")     (Offenbach) 

Farrar  and  Scotti 
95203     Trio — Prison  Scene  ("  Faust")  (Gounod)   Farrar,  Caruso  and  Journet 

ALTERNATES 

(Duet — Home  to  Our  Mountains     ("  II  Trovatore  ") 
(Verdi)  Esposito  and  Colazza 

Duet— O  Joy  He's  Saved     ("  II  Trovatore  ")     (Verdi) 
De  Angelis  and  Cigada 

35170    Trio— Stay  Thee,  My  Lord     ("Ernani")     (Verdi) 

Bernacci,  Colazza  and  de  Luna 

HINTS  FOR  TEACHERS 

Write  the  titles  of  selections  on  the  blackboard,  giving  opera 
and  composer,  but  do  not  indicate  the  names  of  the  singers.  Then 
have  the  class  listen  to  records  and  determine  which  two  voices  are 
heard  in  each.  The  alternates  illustrate  the  same  idea  sung  by  other 
artists.  Tell  briefly  the  scenes  in  the  opera  from  which  these  selec- 
tions are  taken.     (See  "The  Victor  Book  of  the  Opera.") 

CHORUSES 

Beautiful  Springtime  (Home  to  Our  Mountains,  "II  Trovatore") 
(Verdi). 

Silent  Now  the  Drowsy  Bird  (Barcarolle  from  "Tales  of  Hoff- 
man")  (Offenbach). 

QUESTIONS 

Which  record  was  sung  first?  Second?  Third?  What  voices 
did  we  hear  in  the  first  ?  In  the  second  ?  The  third  ?  Which  selection 
is  poetic  in  character?  What  is  a  barcarolle?  Which  selection  has 
definite  form  ?  Which  indirectly  reflects  national  feeling  ?  Which  tells 
a  story  by  means  of  dramatic  action? 

19 


The     Principles     of    M  u  s  i  c 
Lesson  IX 

The  Combination  of  Women's  and  Mens  Voices — // 

We  have  heard  voices  in  combination;  have  been  able  to  dis- 
tinguish sopranos  and  contraltos ;  tenor  and  baritone ;  tenor,  baritone 
and  bass;  contralto  and  tenor;  soprano  and  bass;  let  us  learn  to 
discriminate  further  by  listening  to  a  quartet,  sextet  and  chorus.  We 
call  a  number  for  single  voice  or  instrument  a  solo;  two  voices  or 
instruments,  a  duet ;  three,  a  trio ;  four,  a  quartet ;  five,  a  quintet ; 
six,  a  sextet.  The  largest  choral  form  is,  of  course,  the  chorus,  which 
may  be  written  in  eight  parts,  and  sung  by  any  number  of  voices. 

ILLUSTRATIONS 

70052     Spinning  Wheel  Quartet     ("Martha")     (Flotow) 

Victor  Opera  Quartet 
96200    Sextette     ("  Lucia  di  Lammermoor ")     (Donizetti) 

Sembrich,  Severina,  Caruso,  Scotti,  Journet,  Daddi 
31770     Chorus— Hallelujah     ("Messiah")     (Handel) 

Victor  Chorus  with  Sousa's  Band 

ALTERNATES 

70036     Sextette     ("  Lucia  di  Lammermoor  ")     (Donizetti) 

Victor  Opera  Sextette 
35254     Gypsy  Life     (Schumann)  Lyric  Quartet 

HINTS  FOR  TEACHERS 
Write  the  titles  chosen  on  the  blackboard.    Then  have  class  listen 
to  see  if  they  can  determine  which  record  is  by  four  voices,  which  by 
six,  which  by  chorus.     Describe  briefly  the  scenes  from  the  opera  or 
oratorio,  where  these  numbers  occur. 

QUESTIONS 
What  voices  did  you  hear  in  quartet?     In  sextet?     Which  num- 
ber tells  a  story?     Which  expresses  nationality?     Which  portrays  a 
religious  expression  of  poetic  thought? 

CHORUSES 

Sweet  and  Low  (Barnby). 
Italian  Hymn  (Giardini). 

20 


The     Principles     of    Music 
Lesson  X 

The  Difference  in  Instrumental  Combination 

Let  us  listen  to-day  and  see  if  we  can  discriminate  between 
instrumental  combinations.  We  will  find  that  there  are  many  differ- 
ent combinations  of  instruments,  just  as  there  are  of  voices ;  the  largest 
instrumental  combinations  are  the  symphony  orchestra  and  the  brass 
band.  In  the  first,  the  string  instruments  predominate;  in  the  last, 
the  brasses  are  the  most  important.  We  shall  listen  to-day  for  the  dif- 
ference between  the  chamber  quartet,  which  is  composed  of  two  violins, 
viola  and  violoncello,  and  the  symphony  orchestra,  which  is  composed 
of  four  divisions,  the  strings,  the  wood-winds,  the  brasses  and  the  per- 
cussion instruments. 

ILLUSTRATIONS 

31772     Bridal  Song  from  Symphony  "  The  Rustic  Wedding  " 

(Goldmark)  Vienna  Quartet 

70046     Liebestraum     (Franz  Liszt)  Victor  Herbert's  Orchestra 

ALTERNATES 

31762     Badinage     (Victor  Herbert)  Vienna  Quartet 

31618     In  a  Clock  Store     (Orth)  Victor  Orchestra 

HINTS  FOR  TEACHERS 

The  Vienna  Quartet  is  composed  of  first  and  second  violins, 
violoncello  and  piano.  The  principal  idea  here  is  to  have  class  be  able 
to  distinguish  tone  quality.  Describe  fully  the  selections,  before  play- 
ing them.  Call  attention  to  the  difference  in  tone  quality  of  the 
Quartet  and  Orchestra.  If  the  regular  illustrations  are  used  the 
following  questions  may  be  helpful. 

QUESTIONS 

What  instruments  did  you  hear  in  the  first  selection?  In  the 
second?  Which  is  descriptive?  Which  presents  element  of  nation- 
ality? Which  selections  combine  two  of  the  fundamental  principles? 
Which  of  the  principles  are  here  combined? 

CHORUSES 

Review  choruses  already  learned. 

21 


The     Principles     of     Music 

Lesson  XI 

Imitation  in  Music 

We  have  listened  to  the  combination  of  voices  and  of  instruments, 
let  us  now  consider  a  phase  of  musical  expression,  which  we  shall  call 
imitation.  We  have  seen  that  much  of  our  music  tells  us  a  story  or 
strives  to  depict  some  poetic  idea  in  tone,  now  let  us  listen  to  two 
records,  which  represent  the  voices  of  Nature.  First,  we  shall  hear 
the  real  bird  voice  in  selection  No.  1,  then  the  imitation  of  the  song  of 
a  bird  by  a  whistler,  a  singer  and  a  flute. 

ILLUSTRATIONS 

64161     Song  of  a  Captive  Nightingale 

,,„.-]  Spring  Voices     (Strauss)  Guido  Gialdini 

lbZASy  Birds  of  the  Forest— Gavotte     (Adolfs)  Guido  Gialdini 

88318     Thou  Brilliant  Bird     ("Pearl  of  Brazil")     (David)     (With 

Flute  Obbligato)  Mme.  Tetrazzini 

HINTS  FOR  TEACHERS 

Remind  your  class  of  the  similar  quality  between  the  human  voice 
and  the  flute,  and  note  how  in  combination  they  imitate  each  other. 
Students  may  recall  other  imitative  effects  they  have  observed  in 
music,  for  example,  Spinning  Song — Mendelssohn. 

QUESTIONS 

What  other  imitations  have  we  heard  in  the  previous  lessons? 
Have  we  heard  the  second  selection  (A)  before?  Where?  Who  sang 
it?  What  did  it  then  illustrate?  What  voice  sings  the  third?  What 
principle  does  imitative  music  illustrate?  Which  selection  on  this 
program  is  an  example  of  form? 

CHORUSES 

Skylark  for  Thy  Wing  (Smart). 
Away  With  Melancholy  (Mozart). 
The  Bells  of  Aberdovey  (Old  Welsh). 

22 


The     Principles     of    M  u  s  i  c 


Lesson  XII 

The  Classification  of  the  Fundamental  Principles 

We  have  learned  to  distinguish  the  four  fundamental  principles 
of  music,  as  we  hear  them  expressed,  either  in  instrumental,  or  vocal 
music.  We  have  learned  to  recognize  the  difference  to  be  found  in  the 
tone  quality  of  the  voices  of  men  and  women,  in  solo,  or  in  concerted 
music.  We  have  found  that  all  music  follows  some  definite  formal 
pattern,  although  the  formal  side  is  not  always  as  strongly  noticeable 
as  the  other  qualities.  We  have  found  that  poetry  and  music  are 
closely  related,  and  that  while  music  may  ofttimes  be  a  reflection  of 
poetic  thought,  it  is  not  always  "Program  Music."  We  have  found 
that  "National  Expression"  gives  a  distinct  individuality  to  any  com- 
position. We  have  also  found  that  although  these  ideas  may  be 
expressed  by  vocal  music,  they  are  augmented  by  the  instrumental 
accompaniment. 

We  shall  now  learn  that  music  by  means  of  its  four  fundamental 
principles  can  express  the  greatest  feelings  of  man's  heart  and  life. 

[Battle. 

Patriotism 


National  Feeling 


Poetic  Thought. 


Program  Music 


Form 


Characteristic  customs 

Religion. 
Love. 
Happiness. 
Tranquillity. 

Imitation. 

Humor. 

Gaiety. 

Joy. 

[Grief. 

Song. 

Dance. 

March. 

Intermezzo. 

Overture. 

Sonata. 

Symphony. 


Loyalty. 

Tributes  to  heroism. 

Love  of  native  land. 

Dances  of  the  folk. 
<  Wedding  and  festival  music. 
[Occupations  of  the  people. 


23 


T  h 


r  i  n  c 


i p  I  e s     of     M  u 


s  i  c 


ILLUSTRATIONS 

From  records  in  previous  lessons  to  be  chosen  by  the  teacher,  or 
by  the  class. 

HINTS  FOR  STUDY 

After  class  has  seriously  considered  the  ideas  expressed  in  Les- 
son XII,  let  each  pupil  make  out  an  ideal  program  of  the  selections 
already  heard,  illustrating  each  of  the  four  fundamental  ideas  of 
music,  represented  in  the  above  classification.  The  best  selected  pro- 
gram should  be  written  on  the  board.  Do  not  write  on  the  board  what 
each  composition  signifies,  but  let  the  pupils  indicate  this  for 
themselves. 

CHORUSES 

America,  or  Star  Spangled  Banner. 
The  Lord  is  My  Shepherd. 
The  Lass  of  Richmond  Hill. 
The  Pigtail. 


Lesson  XIII 

The  Principles  of  National  Music 
We  have  found  that  national  expression  is  the  first  of  the  fun- 
damental   ideas    expressed    by    music,    therefore    we    shall    take    up 
our  study  of   National  Music   in   detail   for  the   remainder   of   our 
year's  work. 

National  music  is  divided  into  four 
groups : 

First. — The  Dance  Song.  Com- 
poser unknown. 

The  old  folk  dance,  first  sung  by 
dancers,   then   played   by   instruments, 
develops  into  our  definite  dance  form. 
Second. — Legendary  Song.     Com- 
poser generally  known. 

A  national  folk  song  reflecting 
deep  poetic  feeling;  in  its  later  devel- 
opment frequently  becoming  program 


THE    JESTEB 


music. 


24 


The     Principles     of    Music 

Either  simple  folk  song,  or  composed  song,  following  simple  song 
pattern. 

Third. — Patriotic  Song.    Composer  known. 

A  national  song  which  reflects  the  spirit  of  the  people  and  their 
love  for  home  and  country.  It  is  often  inspired  by  historical  events. 
The  music  generally  reflects  the  style  and  period  of  the  composer. 

Fourth. — National  Modern  Compositions.    Composer  known. 

The  use  of  these  national  ideas  of  dance,  legend  and  history  has 
given  us  in  the  music  of  to-day  the  greatest  national  schools  of  the 
present  time.  Many  of  the  national  composers  write  program  music 
as  being  the  most  typical  form  in  which  to  express  the  ideals  of  their 
native  land.  Many  composers  have  written  their  conception  or  imita- 
tion of  the  music  of  countries  other  than  their  own.  This  music 
reflects  national  characteristics,  but  must  be  distinguished  from  folk- 
song music,  which  has  grown  through  the  centuries  out  of  the  life  of 
the  people. 

ILLUSTRATIONS 

17086     Carrousel     (Merry-Go-Round)     (Swedish)     (Folk  Song  Dance) 

Victor  Band 
74100     All  Through  the  Night     (Welsh)      (Legendary  Folk  Song) 

Evan  Williams 
74039     Marseillaise  Hymn     (Roger  de  Lisle)     (French)     (Patriotic  Song) 

Journet 
f  Hungarian  Rhapsody,  No.  2     (Part  I)      (Liszt)     (National 
2K197  I  Composition)  Pryor's  Band 

A3lZ£  |  Hungarian  Rhapsody,  No.  2     (Part  II)     (Liszt)     (National 

Composition)  Pryor's  Band 


QUESTIONS 

To  which  of  the  four  divisions  of  national  music  does  folk  music 
belong  ?  Which  record  is  national  patriotic  music  ?  To  what  class  does 
the  American  song,  ';The  Star  Spangled  Banner,"  belong?  To  what 
class  does  the  first  number  on  this  program  belong  ?  The  second  ?  The 
third  ?    The  fourth  ? 

CHORUSES 

Austrian  National  Hymn  (Haydn). 

Minstrel  Boy  (Old  Irish  Tune,  The  Moreen). 

Columbia,  the  Gem  of  the  Ocean. 

0,  No.  John  (Old  English). 

Wha'll  Be  King  But  Charlie?  (Old  Scotch). 

25 


T  h 


Principles     of    Music 


Lesson  XIV 

The  Characteristic  Differences  in  the  Music  of  Nations — / 

We  have  found  that  national  feeling  in  music  may  either  represent 
the  patriotism  of  a  country,  by  means  of  its  battle  hymns,  its  tributes 
to  warlike  deeds  and  heroes,  or  its  pride  in  the  love  of  native  land; 

or  may  depict  the 
characteristic  cus- 
toms of  a  people, 
in  the  folk  dances 
which  often  are 
sung  and  danced 
during  the  work, 
as  well  as  the  play 
times  of  the 
people.  We  fre- 
quently find  that 
the  most  popular 
of  these  dances  are 
used  during  har- 
vest scenes,  and  usually  are  descriptive  of  the  occupations  of  the  people. 
It  will  ba  easily  understood  that  there  is  naturally  as  great  a 
difference  between  the  music  of  the  people  of  various  lands,  as  is  to  be 
found  in  their  language,  customs,  dress  and  daily  habits,  for  music 
springs  directly  from  the  daily  life  of  the  folk. 

We  must  also  remember  that  there  is  a  great  racial  difference 
in  the  people  of  Europe.  The  love  of  poetry,  the  romance,  the  gaiety 
of  the  Latin  races,  is  a  direct  contrast  to  the  stolid,  plodding  nature  of 
the  Teutons,  or  the  fearless  freedom  of  the  Slavs.  Yet  we  can  gen- 
eralize and  see  points  of  similarity  between  the  races,  as  they  have 
settled  in  different  lands;  we  must  also  acknowledge  that  changes  have 
come  in  the  language,  dress,  customs  and  arts  of  these  lands.  The 
Russian  people  are  very  different  from  the  Bohemians  and  Hunga- 
rians, yet  all  came  originally  from  the  Slavonic  race.  Here  we  must 
consider  the  changes,  which  have  come,  that  have  been  caused  by 
climatic  conditions. 

For  example,  in  northeastern  Russia  the  folk  stories  and  music 
are  very  much  bolder  and  freer  in  character  than  those  found  in  the 
southwestern  provinces  of  this  vast  land.     While  in  Norway  differ- 


RUSSIAN     PEASANT    DANCE 


26 


The     Principles     of    Music 

ences  in  art  and  custom  are  as  noticeable  as  the  changes  in  natural 
conditions. 

We  must  also  realize  that  the  neighboring  countries  exert  a  great 
influence  on  the  customs,  art,  and  music  of  the  folk.  For  example, 
Switzerland  has  the  most  loyal,  devoted  patriots  we  can  find  in  any 
land,  yet  her  provinces  speak  the  language  of  their  neighbors,  therefore 
German,  French  and  Italian  customs,  stories  and  music  prevail 
throughout  this  tiny  country.  Political  changes  in  Europe  have,  of 
course,  made  these  influences  even  more  apparent;  Poland  and 
Bohemia  are  our  best  examples  of  this. 

ILLUSTRATIONS 
Folk  Dances  Directed  by  Elizabeth  Burchenal 

17ftS,/  Tarantella     (Italian)  Victor  Band 

l/voa\  Ace  of  Diamonds     (Danish)  Victor  Band 

17nft>(  St.  Patrick's  Day     (Irish)  Victor  Band 

ww"\   Reap  the  Flax     (Swedish)  Victor  Band 

1700l'   Highland  Fling     (Scotch)  Victor  Band 

1  Kamarinskaia     (Russian)  Victor  Band 

HINTS  FOR  TEACHERS 
These  records  will  all  be  used  again  to  illustrate  the  individual 
countries.     Class  should  notice  here  the  points  of  similarity  as  well 
as  the  difference  between  these  dances. 

QUESTIONS 

"Which  dances  reflect  the  customs  of  the  land?  Which  possesses 
patriotic  quality?  What  is  the  difference  between  the  Highland  Fling 
and  St.  Patrick's  Day?  What  is  the  difference  between  the  Taran- 
tella and  Kamarinskaia? 

CHORUSES 

Hail,  Columbia. 

Wearing  of  the  Green. 

The  Dannebrog  (Denmark). 

Scots  Wha'  Hae\ 


Lesson  XV 

The  Characteristic  Differences  in  the  Music  of  Nations — 77 
In  studying  the  peculiarities  of  nationality  in  music,  we  will 
find  that  there  are  certain  traits  which  are  common  to  all  countries. 
and  that  it  is  only  a  slight  change  which  causes  an  entirely  different 

27 


The     Principles     of     Music 


THE    ORIENTAL    SWORD    DANCE 


effect  to  be  observed.  In  all  national  music  there  are  four  noticeable 
features  which  are  easily  apparent. 

1.  The  use  of  different  scales  and  modes  than  ours. 

2.  The  constant  mingling  of  major  and  minor  with  a  decided 
preference  towards  the  latter. 

3.  The  importance  of  rhythmic  variety. 

4.  The  characteristic  instruments  used  by  the  different  nations. 
These  are  easily  observable  as  the  basic  factors  of  national  music 

in  all  lands  and  times,  but  in  the  study  of  the  national  music  of 
to-day.  we  find  them  most  easily  recognized  in  the  schools,  which  were 
outside  the  regular  course  of  European  development.  In  Italy, 
France,  Germany,  and  England  these  national  traits  were  long  ago 
practically  assimilated  in  the  great  schools  of  music,  for  which  these 
countries  are  famous;  while  in  Russia,  Poland,  Bohemia,  and  Scandi- 
navia certain  primitive  and  Oriental  ideas*  have  been  retained  in  the 
music  of  the  folk.  We  shall  now  take  up  in  detailed  study,  the  music 
of  these  lands,  starting  with  those  countries  where  music  first  devel- 
oped. In  arranging  the  order  of  these  lessons  we  have  treated  the 
countries  as  they  have  become  identified  with  European  civilization. 

*  While  a  few  of  the  principles  of  Oriental  music  have  been  found  in  the  music  of  the 
European  folk,  it  must  be  acknowleged  that  the  music  of  China,  Japan,  India  and  Arabia  has  re- 
mained absolutely  untouched  by  Western  civilization. 

A  course  on  music  of  Oriental  lands  would  be  exceedingly  instructive,  but  as  the  influence 
of  this  music  is  not  easily  recognized,  except  by  the  analytical  music  student,  it  has  not  been  in- 
cluded in  this  course. 

28 


The     Principles     of     Music 

ILLUSTRATIONS 

74105     O  Sole  Mio     (Neapolitan  Folk  Song)  Emilio  de  Gogorza 

16961     Scots  Wha  Hae  Wi'  Wallace  Bled     (Scotch)  Reinald  Werrenrath 

,,.„(  Vanka     (Russian  Folk  Song)  Albert  Janpolski 

M1M\  Kolebalnia     (Russian  Folk  Song)  Albert  Janpolski 

HINTS  FOR  TEACHERS 

In  presenting  these  illustrations,  make  your  ideas  clear  that  the 
Italian  song  is  more  similar  to  our  love  songs  of  the  modern  school  of 
music,  while  the  Russian  and  Scotch  songs  have  traits  which  are  indi- 
vidual. Tell  the  class  the  meaning  of  the  songs,  but  do  not  play  them 
in  the  order  on  the  board. 

QUESTIONS 

Which  illustration  sounds  the  most  national  to  you?  "Why? 
Which  seems  more  like  "familiar  music?"  Why?  What  points  are 
noticeable  in  the  Russian  songs,  that  you  do  not  feel  in  the  Italian? 
What  do  you  feel  in  the  Italian  that  is  not  so  apparent  in  the  Russian  ? 

CHORUS 

Bosnian  Shepherd's  Song. 

Zionward  (Come,  Thou  Fount).     Old  Freedsman. 

The  Cossack's  Song. 


Lesson  XVI 

Italy 

The  Italian  folk  song  has  been  almost  entirely  assimilated  by  the 
great  Italian  schools  of  music,  which  have  existed  in  Italy,  since  the 
rise  of  Christianity.  We  find  that  song  is  the  natural  expression  of 
the  Italian  heart  and  that  his  song  is  usually  the  appeal  of  the  lover 
to  his  fair  mistress.  In  Venice  and  Naples,  the  two  principal  sea- 
ports of  Italy,  this  love  of  song  has  been  more  apparent,  than  in  those 
cities  which  have  been  more  associated  with  the  progress  of  Church 
and  State.  The  boatmen  and  fishermen  have  their  own  forms  of  song, 
which  are  still  sung  on  the  Bay  of  Naples  and  the  Canals  of  Venice. 

29 


The     Principles     of     Music 


The  Italian  folk  song  has  been  employed  in  all  operas  since  the 
birth  of  that  form  in  1600,  and,  therefore,  it  does  not  seem  to  have 
as  strong  an  individual  note,  in  our  music  of  to-day.     In  truth,  the 

"folk"  music  sung  by  the  gondoliers  of 
Venice  and  the  serenaders  throughout 
Italy  to-day,  is  the  most  popular  music 
from  the  great  Italian  operas.  Italy  is 
a  living  example  of  the  truth  that 
"popular  music  is  familiar  music." 

ILLUSTRATIONS 

17083     Tarantella     (Traditional) 

Victor  Military  Band 
88355     Tarantella  Napolitana     (Pepoli- 

Rossini)  Enrico  Caruso 

16882     Santa  Lucia     (Neapolitan) 

Reed  Miller 
I  Royal  March  of  Italy       Sousa's  Band 
16136  I  Garibaldi  Hymn    (Neapolitan 

Patriotic  Song)         Sousa*s  Band 

HINTS  TO  TEACHERS 
In  arranging  the  order  of  these  les- 
sons, we  have  put  Italy  first  and  have 
then  treated  the  countries  as  they  have 
become  identified  with  European  civil- 
ization. 

Explain  to  your  class  the  different  parts  of  Italy  which  were  sepa- 
rate kingdoms  until  the  unification  of  Italy,  by  Victor  Emanuel,  in 
1871.    Tell  of  the  great  Garibaldi  and  his  work. 

Italy  has  al- 
ways led  the  world 
in  Art.  Speak  of 
the  great  masters, 
Raphael  and  oth- 
ers, and  the  close 
relation  of  music 
and  art.  Speak  of 
the  wonderful  gal- 
leries in  Florence, 
Rome  and  Milan, 
and,     if     possible,  salterello— roman  dance 


J  THE  TARANTELLE  THE  ITALIAN 
PEASANT  GIRL  IS  SUPPOSED  TO  HAVE 
BEEN  BITTEN  BY  A  TARANTULA  AND 
MUST,  IN  ORDER  TO  ESCAPE  DEATH, 
DANCE    THE    POISON    OUT. 


30 


T  h 


Principles     of     Music 


have  reproductions 
of  the  well-known 
paintings. 

QUESTIONS 
Which  num- 
ber is  a  dance 
song  ?  Which  is 
a  legendary  song? 
Which  a  patriotic 
song?  What  voice 
sang  the  second 
selection  ?  The  third  ?  Was  the  first  played  by  an  orchestra  or  by  a 
band?  What  organization  played  the  last?  Which  number  reflects 
the  custom  of  the  people  ?    Which  reflects  poetic  thought  ? 


THE    TARANTELLA 


ITAN    DANCE 


CHORUSES 


Italian  Hymn. 
Santa  Lucia. 
Merry  Life  (Denza) 


Lesson  XVII 

Spain 

In  Spain  and  Portugal  we  find  no  definite  Modern  School  of 
Music,  yet  in  these  countries,  there  are  innumerable  musicians,  who. 
although  uneducated  in  the  science  of  their  art,  still  sing  and  play 
the  folk  songs  of  their  past  generations.  Spanish  literature  is  rich  in 
romance  and  poetry,  for  the  history  of  Spain  tells  us  of  the  intercourse 
of  the  Spaniards  with  the  Moors  and  other  Oriental  nations,  as  well  as 
their  later  exchange  of  thought  with  their  European  neighbors. 
It  is  through  the  gateway  of  Spain,  that  much  of  the  Oriental 
art,  poetry,  and  music,  which  was  the  inspiration  of  the  "Trouba- 
dours," entered  into  Europe.  Although  many  schools  of  music  were 
established  during  the  mediaeval  days,  it  is  curious  to  note  that 
Spanish  music  has  had  no  distinctly  modern  development.  The  over- 
towering  greatness  of  the  schools  of  Italy  and  France  have  called  some 
musicians  from  Spain,  who  have  been  identified  with  these  schools, 
but  her  own  source  of  melodic  wealth  and  legendary  lore  has  proved 


31 


The     Principles     of     Music 

of  little  inspiration  to  her  own  sons.  Many  European  masters  have 
sought  inspiration  from  Spanish  sources,  but  as  yet  Spain  has  pro- 
vided no  great  modern  composers,  who  can  compare  with  those  of  the 
other  European  countries. 

There  are  different  groups  of  Spanish  songs,  divided  accord- 
ing to  the  geographical 
and  national  character  of 
the  country.  The  most 
beautiful  folk  songs  are 
found  in  Andalusia 
(Southern  Spain),  while 
the  majority  of  dance  songs 
are  to  be  found  in  Galicia. 
The  guitar  is  the  most 
popular  instrument.  Many 
of  the  folk  songs  of  Spain 
and  Portugal  are  now 
found  in  South  America,* 
Cuba,  Mexico  and  South- 
ern California. 


COURT    OF    THE    LIONS,     ALHAMBRA.         (NOTE    THE    MOORISH 
INFLUENCE     IN     THE    ARCHITECTURE) 


ILLUSTRATIONS 


64042  Linda  Mia     (Folk  Song) 

64043  Teresita  Mia     (Folk  Song) 
s-j-tz-if  Alborada  Gallega     (Duet) 


Emilio  de  Gogorza 
Emilio  de  Gogorza 
Band  of  Perelada 
Melangia  Municipal  Band  of  Barcelona 

87105     Aria  "  II  Guarany"   (Gomez)    Amato  and  Metropolitan  Opera  Chorus 

HINTS  TO  TEACHERS 
Recall  the  great  legends  and  poetry  of  Spain  in  past  times.  Her 
architecture  is  strongly  influenced  by  the  Moorish  conquests.  Recall 
the  great  artists  of  Spain,  but  class  should  be  reminded  that  no  coun- 
try of  Europe  is  so  completely  mediaeval  in  character  as  the  Spain  of 
to-day.  She  is  only  just  beginning  to  realize  her  own  importance 
politically.  Her  literature  and  art  are  being  cultivated,  as  is  also  her 
music.  Before  the  end  of  the  century  we  will  find  in  Spain  a  great 
National  School.  Remind  class  of  the  similarity  between  the  love 
songs  of  Spain  and  of  Italy.  Recall  to  them  the  story  of  Bizet's  "Car- 
men," which  reflects  the  nationality  of  Spain  in  a  French  opera. 

*  There  is  no  country  in  the  world  to-day  in  which  is  to  be  found  a  greater  music-loving 
public  than  in  certain  parts  of  South  America.  The  opera  house  of  Buenos  Aires  is  one  of  the 
finest  in  the  world  and  the  greatest  singers  of  the  world  are  heard  there  each  season  in  a  full 
repertoire  of  all  the  greatest  operas. 


32 


The     Principles     of     Music 


THE     SPANISH     FANDAN 


Speak  of  the  relation  of  Spain  and  Portugal.  Selection  4,  the 
great  aria  from  the  Portuguese  opera,  "II  Guarany"  which  has 
attracted  great  attention  in  Europe  in  recent  years,  is  in  the  form  of 
the  Bolero.  Explain  the  Serenade,  or  Morning  Song,  French 
"Aubade" —  (Alborada  in  Spanish.) 

QUESTIONS 
Which  number  is  national  expression?     In  which  is  folk  music? 
Which  reflects  the  customs  of  the  people?     Which   suggests  dance 
form  in  its  musical  accompaniment? 

CHORUSES 
Fading,  Still  Fading  (Portuguese). 
Juanita. 
La  Paloma   (Spanish). 


L 


esson 


XVIII 


France 
The  French  folk  songs  belong  to  the  period  of  the  Jongleurs  and 
Troubadours  (from  1100),  and  we  also  find  them  reflected  later  in  the 
early  operas.     The  love  of  dancing  was  always  popular  in  France, 


33 


The      Principles     of     Music 

but  the  simple  dances  of  the  common  people  were  soon  copied  by  the 
nobility  and  were  later  chiefly  associated  with  Court  life.  The  dances 
were  introduced  into  the  opera  and  became  the  ballet  of  the  seven- 
teenth  century,  which  lias  ever  since  remained  one  of  the  most  popular 
tonus  in  France.  At  the  time  of  the  devolution  many  songs  of  a 
national  character  came  into  being,  among  them  the  great  "Marseil- 
laise," which  is  regarded  as  tin1  most  remarkable  of  patriotic  songs. 

ILLUSTRATIONS 

16474     Amaryllis  Victor  Orchestra 

64223     Bergere  Legere  Edmond  Clement 

64202     Aubade  Provencale     (Old  French  i  Fritz  Kreisler 

74039     Marseillaise     (de  Lisle)  Marcel  Journet 

31740     The  Two  Grenadiers     (Schumann)  Reinald  Werrenrath 

HINTS  FOR  TEACHERS 

Amaryllis  is  a  rare  example  of  the  old  French  rondo.  If  time 
permits  explain  to  class  the  rondo  as  it  was  sung  and  danced.*  The 
last  number,  "The  Two  Grenadiers,"  is  included  because  of  its  excel- 
lent use  of  the  "Marseillaise,"  but  if  you  give  this,  be  sure  the  students 
do  not  classify  Robert  Schumann  as  a  Frenchman.  A  strong  point 
must  be  made  of  the  fact  that  both  words  and  music  are  by  Germans, 
and  that  this  is  an  example  of  national  expression. 

QUESTIONS 

Which  selection  is  a  song-dance?  Which  is  a  legendary  song? 
Which  is  patriotic?  Which  is  national  expression  in  music?  Why  is 
the  last  an  unusual  example  of  national  expression  in  music?  What 
voice  sin  us  the  second?     The  third?     The  fourth? 


*  The  rondo  dance  form  developed  from  the  old  custom  of  singing  rounds.  As  we  know- 
in  the  simple  form,  the  round  is  begun  by  one  group  of  singers,  who  sing  the  principal  theme,  then 
continue  to  sing  a  new  theme,  while  a  second  set  sing  the  original  melody;  a  third  or  a  fourth 
division  follow  each  other;  this  later  developed  into  a  dance  or  instrumental  form  in  France. 
The  first  theme  is  heard,  then  a  contrasting  theme,  the  original  theme,  another  contrasting  theme, 
and  then  a  return  to  the  original  thought.  A  perfect  example  of  rondo  in  verse  is  to  be  noted  in 
this  little  poem  by  Bunner: 

"A  pitcher  of  mignonette 

In  a  tenement's  highest  casement, 

Queer  sort  of  a  flower  pot,  yet 

That  pitcher  of  mignonette, 

Is  a  garden  in  Heaven  set. 

To  the  little  sick  child  in  the  basement. 

The  pitcher  of  mignonette 

In  a  tenement's  highest  casement." 

34 


The     Principles     of     Music 


FRENCH     MINUET 


CHORUSES 
The  Marseillaise. 
Legend  of  the  Bells,  from  "Chimes  of  Normandy. ': 

"ROUNDS" 
Early  to  Bed. 
Scotland's  Burning. 
Three  Blind  Mice. 
The  Bell  Doth  Toll. 
Wind,  Gentle  Evergreen  (Old  English). 


Lesson  XIX 

Germany 

From  the  earliest  times,  we  find  an  interest  in  music  in  the  land 
of  Germany ;  which,  during  our  modern  epoch  has  given  more  great 
music  to  the  world  than  any  other  land.  The  mediaeval  legends  were 
sung  by  the  Minnesingers,  while  the  folk  dances  were  kept  alive 
through  the  efforts  of  the  town  pipers.  The  dances  of  the  town  pipers 
were  first  collected  in  the  early  seventeenth  century  and  under  the 

35 


J  h  e     Principles     o  f     M  u  s  i  c 


name  Partita  in  Germany,  and  Suite  in  Franee,  they  received  their 
culmination  of  development  at  the  time  of  Johann  Sebastian  Bach  in 

the  eighteenth  century. 

All  the  folk  songs  and  dances 
of  Germany  have  gradually  been 
assimilated  with  the  musical  forms 
of  the  great  composers ;  although  we 
find  to-day,  in  parts  of  the  country, 
old  folk  songs  which  represent  all 
phases  of  nationality;  they  have 
become,  as  it  were,  polished  by  con- 
tact with  the  later  great  art  forms. 
Many  of  the  student  songs  and 
drinking  songs  were  brought  into 
the  Church  at  the  time  of  Luther 
and,  although  still  folk  songs,  are 
sung  in  all  reformed  churches 
throughout  the  world,  set  to  reli- 
gious words. 

All  of  Germany's  legendary 
stories  of  the  Rhine,  all  the  folk 
lore  of  the  Black  Forest,  is    reflected 


THE     TOWN      I' II"  Kit 


in  her  folk  soner. 


ILLUSTRATIONS 

63853     Two  Folk  Songs— "Christmas  Hymn,"  "  Tannenbaum  " 

Children's  Chorus 
17181     The  Loreley     (Silcher)  Elsie  Baker 

74196     Liebesfreud     (German)  Fritz  Kreisler 

16159     A  Mighty  Fortress  is  Our  God     (Martin  Luther)  Trinity  Choir 

16882     The  Watch  on  the  Rhine     (Wilhelm)  Reinald  Werrenrath 

HINTS  FOR  TEACHERS 

The  national  hymn  of  Austria,  "God  Save  Franz,"  is  by  Haydn 
and  is  practically  a  German  folk  song.  Included  in  the  list  of  German 
patriotic  songs  we  find  also  the  great  hymn  of  Martin  Luther,  "A 
Mighty  Fortress  is  Our  God,"  as  this  was  the  battle  hymn  of  the 
Lutherans  and  was  sung  by  the  armies  of  Gustavus  Adolphus  during 
the  Thirty  Years'  War.     It  has  ever  since  remained  a  favorite  hymn. 


36 


The     Principles     of     Music 

QUESTIONS 

Which  selection  is  a  dance?  Which  is  patriotic  song?  Which  is 
legendary  song?  What  voice  sings  the  second?  The  fourth?  Which 
number  represents  national  custom?  Which  are  poetic  in  character? 
Which  is  an  example  of  national  expression  ? 

CHORUSES 
Tannnenbaum. 
Holy  Night. 
The  Vow. 

How  Can  I  Leave  Thee? 
Canst  Thou  Count  the  Stars? 


Lesson  XX 

Tlohemian  Music 

The  name  Bohemian  has  always  been  a  synonym  for  the  wander- 
ing musician.  In  no  other  country  of  Europe  has  the  town  piper  re- 
tained his  mediaeval  privileges  as  he  has  in  the  smaller  towns  of 
Bohemia.  In  many  points  Bohemian  music  reflects  that  of  the  other 
Slavic  races,  especially  that  of  Poland,  as  both  countries  have  assimi- 
lated much  from  their  neighbors.  With  Germany  on  the  one  hand  and 
Austria  on  the  other,  Bohemia  has  absorbed  a  great  deal  of  the  Teu- 
tonic spirit  in  her  folk  dances  and  songs,  although  we  do  not  find  a 
definite  Bohemian  school  of  music  until  the  last  half  of  the  nineteenth 
century. 

ILLUSTRATIONS 

35148     Overture,  "  Bartered  Bride  "     (Smetana)  Pryor's  Band 

64213     Bohemian  Cradle  Song     (Smetana)  Alma  Gluck 

60078     Songs  My  Mother  Taught  Me     (Dvorak)      (English)        Lucy  Marsh 

HINTS  FOR  TEACHERS 

The  selections  chosen  are  all  examples  of  national  expression  in 
that  they  are  compositions  of  modern  composers.  They  are,  however, 
the  best  examples  of  true  Bohemian  folk  spirit.  Tell  the  story  of  Sme- 
tana's  "Bartered  Bride,"  the  first  Bohemian  opera. 

All  the  Slavonic  people  are  partial  to  the  dance  and  have  many 
dances  in  common  which  show  but  slight  changes  in  character. 

37 


The     P  r  i  n  c  i  p  I  e  s     o  f     J\I  u  s  i  v 

Recall  to  your  class  the  effect  of  the  Reformation  in  Bohemia,  the 
wars  of  the  Hussites,  etc.  During  this  period  the  religious  fervor  of 
the  people  is  manifest  in  the  sacred  character  of  their  music.  It  is 
interesting  to  note  that  although  Bohemia  was  almost  entirely  de- 
stroyed as  a  result  of  its  partisanship  in  the  cause  of  the  Reformation, 
it  is  now  entirely  a  Catholic  country. 

QUESTIONS 

What  voice  sang  the  second  selection?  The  third?  Which  is 
legendary  song?  "Was  the  first  played  hy  orchestra  or  hy  band? 
Which  lias  definite  form? 

CHORUSES 

The  Country  Wedding. 
Serenade  (Bohemian  Air). 
Battle  Hymn  of  the  Hussites. 


Lesson  XXI 

Hungary 

Hungarian  music  is  always  associated  in  our  minds  with  Franz 
Liszt,  for  he  was  the  first  musician  to  give  us  the  wonderful  con- 
trasts of  rhythm  and  syncopation,  that  go  to  make  up  the  characteris- 
tics of  Hungarian  music.  In  considering  Hungarian  folk  music,  one 
must  remember  that  Hungary  is  the  borderland  between  the  West  and 
the  Orient,  and  consists  of  a  population  made  up  of  Magyars  (the  real 
Hungarian  people),  Gypsies,  Germans,  Jews,  Slavs,  Greeks,  etc. 

The  favorite  Hungarian  musical  scale  is  our  regulation  minor, 
but  with  an  augmented  fourth,  which  produces  a  wierd  effect  of  "in- 
tensified minor."  When  this  scale  is  employed,  with  the  popular 
rhythmic  and  Oriental  effects,  there  is  an  endless  variety  possible. 
Liszt  once  said,  "It  seems  as  if  every  newly-discovered  fragment  con- 
tains some  newT  form,  some  unexpected  turn,  some  rhythmic  inter- 
ruption of  a  picturesque  effect  previously  absolutely  unknown." 

The  Hungarian  gypsies  always  adorn  their  melodies  with  curious 
runs,  twists  and  turns,  which  are  reminiscent  of  the  Italian  opera  at 
the  time  of  Rossini.     Almost  every  Hungarian  village  possesses  its 

38 


T  h 


Principles     of     Music 


gypsy  band,  the  favorite  instru- 
ments being  the  violin  and  the  dul- 
cimer, which  accents  the  rhythm, 
as  the  first  violin  leads  in  an  im- 
provisation of  some  well-known 
melody.  No  notes  are  ever  used. 
Of  the  various  Hungarian 
forms  the  Czardas  is  the  most 
popular  with  the  gypsies.  It  takes 
its  name  from  the  inn  where  it  was 
first  danced,  and  consists  of  two 
parts,  a  slow  Lassen,  which  is  gen- 
erally minor  in  tone  and  of  melan- 
choly character,  and  a  rapid 
Friska,  which  is  a  wild  and  impas- 
sioned dance.  The  Lassen  is 
danced  first;  the  Friska  becoming 
more  and  more  animated,  until  the 
dancers  drop  back  to  the  Lassen 
for  a  rest.  The  gypsies  of  Hun- 
gary were  undoubtedly  the  hire- 
lings of  the  noble  Magyars,  and 
played  the  music  of  their  masters.  This  accounts  for  the  fact  that 
gypsies  of  other  lands  show  other  characteristics  in  their  music,  which 
are  not  to  be  observed  in  Hungary. 


ILLUSTRATIONS 

17003     Czardas     (Traditional  Folk-Dance) 
64131     Hungarian  Dance      (Brahms) 
31424     Rakoczy  March     (Berlioz) 


Victor  Military  Band 
Fritz  Kreisler 
Sousa's  Band 


HINTS  FOR  TEACHERS 

The  Hungarian  Rhapsodies  of  Liszt  are  so  well  known  that  they 
have  purposely  been  omitted  as  illustrations.  There  are  several  excel- 
lent records  that  can  be  used  if  desired. 


QUESTIONS 

How  many  themes  did  you  hear  in  the  first  selection  ?     Of  what 
character  are  they?     "What  instrument  played  the  second?     Is  the 


The     Principles     of     Music 

third  national  expression  in  music?     What  type  of  nationality  does 
it  reflect? 

CHORUS 
Bosnian  Shepherd's  Song. 


Lesson  XXII 

Russia 

Rubinstein  declared  that  "the  folk  songs  of  the  Russians  stand 
alone,"  and  Cesar  Cui,  another  great  Russian  composer,  says  "it  is 
not  too  much  to  claim  supremacy  for  Russia  in  the  department  of 
National  Melodies.  The  popular  songs  of  my  country  demand  an 
original  harmonization  and  an  entirely  distinct  method  of  modulation, 
for  we  seldom  find  a  melody  which  can  be  treated  entirely  within  the 
major  or  minor  mode,  for  even  if  it  extends  over  but  a  few  bars,  it 
passes  from  relative  major  to  minor  or  vice  versa.  These  changes, 
generally  unexpected,  are  almost  always  of  a  striking  emotional  effect." 

The  enormous  size  of  Russia  and  the  many  points  of  difference 
between  the  various  parts  of  the  country,  gives  an  endless  variety  of 
local  color  to  the  Russian  songs.  The  most  original  and  interesting 
Russian  songs  have  come  from  what  is  known  as  "Little  Russia";  the 


JH 

■ 

u 

f 

I 

1 

f.     ••fi 

-'     "     •'.;,,... 

I 

/ 

RUSSIAN     DANCE 
40 


The     Principles     of     Music 

district  of  the  Ukraine,  bordering  on  Poland.  The  Russian  folk  songs 
have  all  the  characteristics  which  we  observed  in  Lesson  XV,  for  the 
Russian  religion,  that  of  the  Greek  Church,  has  brought  the  Russian 
peasant  closer  to  the  oldest  science  of  music  than  any  of  his  neighbors, 
in  the  Jewish  communities  of  Russia,  the  orthodox  service  has  always 
been  closely  adhered  to,  and  many  Russian  folk  songs  are  affected  by 
the  ancient  system  of  the  Hebrews,  as  well  as  by  the  Greek  Church. 

In  the  Russian  churches  no  instruments  are  allowed,  so  that  we 
find  the  deepest  basso  voices  in  the  world  in  Russia  to-day. 

With  the  constant  oppression  of  tyrant  rulers  and  the  invasion  of 
Asiatic  enemies,  it  is  but  natural  that  the  best  songs  of  Russia  are 
sad,  and  favor  the  minor  mode. 

It  is  customary  to  divide  the  Russian  songs  into  two  classes : 

1.  Melodic  songs;  these  are  in  the  major  key,  of  a  lively  char- 
acter, sung  in  unison  and  accompanying  dancing. 

2.  Harmonic  songs ;  these  are  sung  in  harmony,  slower  tempo,  and 
favor  the  minor  keys.  It  is  easily  seen  that  the  "melodic"  songs  we 
have  classed  as  the  "dance  song,"  while  the  "harmonic  song"  we  have 
already  termed  "the  legendary  song." 

ILLUSTRATIONS 

7anW  Molodka     (Folk  Dance)  Balalaika  Orchestra 

w     \  Sun  in  the  Sky  Stop  Shining     (Folk  Dance)  Balalaika  Orchestra 

,,,„)   Kolebalnia     (Folk  Song)  Albert  Janpolski 

""''l  Vanka     (Folk  Song)  Albert  Janpolski 

17001     Kamarinskaia     (Folk  Dance)  Victor  Military  Band 

61143    The  Sea  Gull's  Cry     (Grodski)  Mmes.  Michailowa  and  Tugarinoff 

70050    Marche  Slave     (Tschaikowsky)  Victor  Herbert's  Orchestra 

HINTS  FOR  TEACHERS 

Remind  the  class  of  the  political  importance  of  Russia  to-day,  of 
the  rise  of  her  commerce,  her  literature  and  arts.  The  Russian  School 
of  Music  is  considered  in  detail,  Lesson  XXII,  Course  II.  Also 
remember  the  different  races  and  sects  in  Russia;  the  Asiatic  influ- 
ences that  have  come  into  Europe  through  Russia. 

The  class  will  find  in  many  of  their  choruses  sung  in  the  school, 
examples  of  Russian  folk  song. 

QUESTIONS 
Which  selection  is  patriotic?     Who  wrote  the  Russian  National 
Hymn  ?    When  1    How  is  it  here  used  by  Tschaikowsky  ?    Which  is  an 

41 


The     Principles     of     M  u  s  i  c 

example  of  legendary  song?  Which  of  these  songs  reflects  customs  of 
the  folk?  What  voices  did  you  hear  in  the  last  selection?  What  does 
this  number  reflect? 

CHORUSES 

The  Red  Sarafan  (Lwolf)'. 

The  Troika. 

Russian  National  Hymn. 

The  Harvester  (Old  Russian). 


Lesson  XXIII 

Poland 

The  music  of  Poland  is,  to  our  modern  mind,  strongly  associated 
with  the  instrumental  music  for  the  piano,  as  many  of  our  great 
pianists,  from  Chopin  to  Paderewski,  have  been  of  Polish  origin. 
Therefore,  it  is  not  surprising  to  find  that  the  early  Polish  music 
favored  instrumental,  rather  than  vocal  expression. 

We  have  noticed  that  Russian  melodies  betrayed  their  vocal  origin 
by  their  limited  melodic  compass,  but  in  Poland  we  find  a  much  greater 
freedom  in  the  use  of  rhythm  and  melody  than  is  found  in  Russia. 
The  Poles  are  more  susceptible  to  romance,  they  are  more  passionate, 
and  their  songs  are  filled  with  a  fire  that  reveals  the  influence  of 
instrumental  coloring,  in  the  syncopated  notes,  intricate  rhythm  and 
difficult  melodic  intervals. 

The  four  great  Slavic  races,  Russian.  Polish,  Bohemian  and  Hun- 
garian, in  many  respects  possess  similar  characteristics  in  their  music, 
but  while  the  Russians  and  Bohemians  have  points  of  close  similarity 
in  their  use  of  melodic  and  harmonic  songs,  the  Poles  and  Hungarians 
are  more  passionate  and  intense  in  their  dances  and  in  the  use  of 
instrumental  forms. 

But  the  melancholy  of  the  Russians  is  apparent  also  in  the  music 
of  Poland  and  tinges  even  the  lively  tunes.  The  Poles  have  been 
almost  constantly  the  slaves  of  other  nations,  and  these  periods  have 
resulted  in  the  sad  and  mournful  strains  of  their  folk  music. 

The  national  dances  of  Poland  are  the  Mazurka  and  Polonaise, 
both  of  which  Chopin  immortalizes. 

42 


The     Principles     of     Music 
ILLUSTRATIONS 

74051     Souvenir  de  Moscow     (Wieniawski)  Mischa  Elman 

63460     Two  Folk  Songs 

(a)  Krakowiak  (Soprano  Solo  with  Chorus)      Roza-Kwasigrouch 

(b)  Na  Wawel,  Na  Wawel  Chopin  Male  Quartet 
64224     Mazurka     (Op.  15,  No.  2)     (Chopin)                    Vladimir  de  Pachmann 

HINTS  FOR  TEACHERS 

Give  a  very  brief  resume  of  Poland's  history.  Remind  class  of 
her  past  splendor,  of  the  elegance  and  luxury  of  her  Court  life  in  olden 
days.  Tell  of  the  Revolution  at  the  time  of  Chopin  and  how  it  influ- 
enced him.  Recall  to  your  pupils  the  help  Kosciusko,  the  great  Polish 
patriot,  gave  to  America  at  the  time  of  our  Revolution.  Remind  class 
of  the  many  singers  and  instrumental  musicians  who  have  been  of 
Polish  birth. 

QUESTIONS 

What  does  the  first  selection  represent?  Two  folk  songs  are  ex- 
amples of  what?  Which  number  shows  national  expression?  What 
instrument  did  you  hear  in  the  first  number? 

CHORUS 
May  Song. 

Polish  National  Song  (Old  Folk  Song). 
Polish  Fatherland  Sons. 


Lesson  XXIV 

Norway 

In  our  study  of  folk  music,  none  is  more  interesting  than  that 
found  in  Norway.  The  physical  aspect  of  the  country,  its  deep  forests, 
sunny  meadows,  high  mountains  and  rugged  seacoast,  inspires  a  love 
of  contrast  in  art,  which  makes  the  folk  tales  and  music  of  this  land 
most  fascinating.  The  old  mythical  stories  of  the  Volsung  Sagas, 
telling  of  the  Norse  Gods,  were  first  sung  by  the  Bards,  or  Skalds. 
who  wove  musical  themes  around  these  epic  legends.  They  used  for 
accompaniment  the  Langeleik,  a  long  box-like  instrument,  shaped  like 
a  harp,  and  also  the  old  Hardanger  fiddle,  which  was  similar  to  the 
viola  d'amore  of  mediaeval  Italv.     The  Norse  songs  are  divided  into 


The     Principles     of     Music 

two  classes;  one  bold  and  vigorous,  the  other  tender  and  plaintive. 
Many  of  these  songs  deal  with  simple  events  of  life,  some  are  hunting 
songs,  some  are  humorous  and  others  have  a  simple,  direct,  poetic 
appeal. 

Although  we  find  excellent  musicians  from  the  North  living  in 
Germany  and  Italy  during  the  seventeenth  and  eighteenth  centuries, 
it  is  not  until  the  nineteenth  century  that  we  find  a  National  School 
established  in  Norway. 

ILLUSTRATIONS 


17160     Norwegian  Mountain  March  (Folk  Dance)                         Victor  Band 

,,wia/  Aa,  Ola,  Ola     (Folk  Song)  Mme.  Aalrud-Tillish 

b6bl*\  Astri,  mi  Astri     (Folk  Song)  Mme.  Aalrud-Tillish 

71042     Norwegian  Wedding  March  (Grieg)                           Wilhelm  Bachaus 


HINTS  TO  TEACHERS 

Remember  that  although  for  many  years  joined  to  Sweden,  Nor- 
way has  always  retained  her  own  independence  in  art.  Foreign  art 
was  never  popular  there  as  in  Sweden  and  Denmark.  Remind  your 
class  that  our  greatest  Scandinavian  expression,  in  literature,  art  and 
music,  has  come  from  Norway.  Thorwaldson,  Bjornsen,  Ibsen,  Ole 
Bull,  Grieg  and  Sinding  are  all  names  the  class  should  learn. 

Recall  to  your  class  that  we  Americans  should  be  especially  inter- 
ested in  the  customs  of  Norway  because  of  the  early  discoveries  made 
in  America  by  the  Norse  sailors. 


QUESTIONS 

In  which  class  do  the  folk  songs  belong?  What  voice  sang  them? 
Which  is  an  example  of  national  expression?  Which  is  an  example 
of  customs  of  the  people? 

CHORUSES 

National  Hymn  of  Norway. 

Last  Night  the  Nightingale  Woke  Me  (Kjerulf). 

Haakon's  Cradle  Song  (Grieg). 

My  Dear,  Old  Mother  (Grieg). 

44 


The     Principles     of     Music 
Lesson  XXV 

Sweden 

Swedish  music  has  many  points  of  similarity  with  that  of  Norway, 
yet  it  is  not  as  individual  in  character.  "The  Thirty  Years'  War" 
brought  Sweden  into  contact  with  the  customs  and  manners  of  other 
lands,  and  all  her  arts  reflect  this  fact,  although  it  is  most  noticeable 
in  her  music.  Daring  the  reign  of  Charles  XII,  a  typical  French 
Court  was  maintained  in  Stockholm,  which  has  ever  since  remained 
one  of  the  cosmopolitan  capitals  of  Europe.  It  is,  therefore,  but 
natural  that  Swedish  music,  even  that  sung  by  the  folk,  should  have 
been  influenced  by  superficial  conditions.  The  folk  dances  have  re- 
mained more  truly  characteristic  of  the  Swedish  nation  than  the  songs. 

It  is  a  well-known  fact  that  all  folk  songs  have  strong  points  of 
similarity  and  that  many  legendary  stories  are  the  same  in  all  lands. 
It  is  but  natural,  therefore,  to  find  strong  points  of  similarity  between 
the  songs  of  all  the  northern  countries.  The  Swedish  songs  are  less 
tragic  and  melancholy  than  the  Norwegian  folk  songs,  and  while  not 
as  regular  in  rhythm  as  the  Danish  melodies,  they  still  show  the  influ- 
ence of  other  European  countries. 

The  lute,  which  was  originally  imported  into  Sweden  from  Italy, 
has  become  one  of  the  national  instruments  of  the  land,  and  many  of 
the  best  Swedish  folk  songs  are  sung  to  its  accompaniment. 

ILLUSTRATIONS 

17nSc/    Fjallnaspolska     (Mountain  Polka)      (Swedish)  Victor  Band 

1/Wi"\     Bleking     (Swedish)  Victor  Band 

63429     Two  Folk  Songs  with  lute  accompaniment  Torkel  Scholander 

35159     Swedish  Wedding  March     (Soderman)  Pryor's  Band 

HINTS  FOR  TEACHERS 

Although  it  is  impossible  to  take  up  the  Modern  Schools  at  this 
time,  the  influence  of  Denmark  on  both  Sweden  and  Norway  has  been 
very  great.  Among  the  modern  schools,  great  interest  is  now  being 
taken  in  the  new  schools  of  Iceland  and  Finland,  which  have  recently 
come  into  existence.  The  great  Finnish  epic  poem,  Kalevala,  has 
always  attracted  the  attention  of  the  literary  world,  but  the  interest 
in  her  music  has  been  very  recent.    Her  folk  melodies  have  points  in 

45 


T  h 


P rinciples     of     M u 


S  l  c 


common  with  both  Norway  and  Russia.  Class  should  recall  the  union 
of  Sweden  and  Norway,  and  the  recent  separation  in  government 
relations  there. 

QUESTIONS 

Which  of  these  dances  is  the  most  simple  in  form?  Which  sug- 
gests a  dance  of  another  country?  Which  of  the  songs  typifies  poetic 
thought?  What  difference  did  you  note  in  Wedding  Marches  of 
Norway  and  Sweden  ? 

CHORUSES 

National  Air  of  Sweden  (Charles  John,  Our  Brave  King). 

The  Horn  (Old  Swedish). 

To  Nature   (Swedish  Folk  Song). 

Cradle  Song   (Favorite  of  Jenny  Lind). 


Lesson  XXVI 


Ireland 


IRISH     JIG NEW     YEAR  S     EVE      IN      IRELAND 


The  music  of  Ireland 
is  similar  in  many  ways 
to  that  of  Scotland  and 
Wales.  That  there  ex- 
isted a  very  much  earlier 
civilization  in  Ireland 
than  in  the  other  parts 
of  Great  Britain  proves 
that  many  of  the  songs 
now  claimed  by  Scotland 
and  England  were  origi- 
nally native  to  Ireland. 
Many  of  the  Catholic 
hymns  in  the  ritual  of 
the  Church  to-day  were 
the  inspiration  of  Irish 
scholars  of  the  middle 
ages.  In  the  twelfth  cen- 
tury,  John   of  Salisbury. 


46 


The     Principles     of     Music 

comments  on  the  famous  Harp  School  of  Ireland,  which  had  then 
been  in  existence  for  several  centuries.  During  the  wars  of  the  six- 
teenth, seventeenth  and  eighteenth  centuries,  the  art  of  music  declined 
in  Ireland,  and  many  Irish  melodies  were  rewritten  in  the  English 
style.  The  early  harpers  followed  the  modes  in  use  in  the  Christian 
Church  chants,  so  that  we  find  many  of  the  early  Irish  songs  good 
examples  of  the  modes  brought  into  the  Church  service  by  Gregory. 
(See  Lesson  III,  Course  II.)  The  Irish  also  used  the  bagpipes,  as 
did  the  Scotch,  and  these  instruments  were  frequently  used  as  accom- 
paniments to  the  dances. 

The  most  popular  Irish  dance  is  the  jig,  which  was  named  from  a 
peculiar  stringed  instrument,  somewhat  resembling  the  violin;  this 
was  called  the  Geige— the  dance  taking  its  name,  just  as  the  horn- 
pipe was  named,  from  the  instrument  used  to  provide  the  music  for 
that  dance.  Every  occupation  of  the  Irish  people,  from  milking  the 
cows  to  spinning,  has  its  own  individual  tune. 

ILLUSTRATIONS 

17002  St.  Patrick's  Day     (Irish  Jig)  Victor  Military  Band 

64117  The  Minstrel  Boy  John  McCormack 

64259  The  Harp  that  Once  Thro'  Tara's  Halls  John  McCormack 

31865  Songs  of  Ireland     (Medley)  Victor  Mixed  Chorus 

HINTS  FOR  TEACHERS 

As  Ireland  has  been  under  the  power  of  England  for  so  many 
generations,  we  find  no  song  that  can  be  distinctly  called  the  national 
air  of  Ireland;  possibly  "The  Harp  That  Once  Thro'  Tara's  Halls" 
comes  closer  to  this  than  any  other.  Have  class  point  out  the  simi- 
larity between  the  Scotch  and  Irish  ballads. 

QUESTIONS 

What  voice  sang  the  second  selection?  The  third?  Which  is 
descriptive?  Which  is  patriotic  in  character?  In  the  medley,  which 
song  reflects  love  of  native  land?     Which  represents  poetic  thought? 

CHORUSES 
Molly  Bawn. 
Wearing  of  the  Green. 
Harp  That  Once  Thro'  Tara's  Halls. 
Low-Back'd  Car  (Lover). 

47 


The      Principles     of     M  u  s  i  c 

Lesson  XXVII 

Wales 

There  is  absolute  proof  that  there  existed  in  Wales,  a  very 
advanced  musical  culture,  which  dates  back  even  earlier  than  that  of 
Scotland  or  England.  The  most  famous  minstrels  of  all  the  North 
lands  used  the  Welsh  Crwth,  which  was  brought  into  Europe  origi- 
nally by  the  Welsh  bards,  but  which  has  been  found  throughout  Scan- 
dinavia, Russia  and  Northern  Germany.  The  Crwth  was  a  stringed 
instrument  played  with  a  bow.  It  was  used  entirely  as  an  accompani- 
ment to  the  song,  recited  or  sung  by  the  bard.  The  Welsh  also  used 
harps  (doubtless  imported  from  Ireland),  and  these  have  continued 
in  use  in  Wales,  even  to  our  own  day.  The  hornpipe  and  bagpipe 
were  also  used  in  Wales. 

A  curious  custom  of  ancient  days  in  Wales  is  still  retained  by  the 
folk;  this  is  the  "Pennillion  Singing."  The  harper  plays  a  well- 
known  tune  over  several  times,  then  each  of  the  company  in  turn 
extemporizes  words  to  fit  this  melody;  the  chorus  sing  "Tal  la  la" 
between  each  new  stanza. 

Most  of  the  Welsh  airs  we  know  to-day  have  been  known  in  Eng- 
land for  so  many  years  that  they  are  frequently  classified  as  English 
Folk  Songs. 

ILLUSTRATIONS 
74100     All  Through  the  Night  Evan  Williams 

64141     Mentra  Gwen  Evan  Williams 

17180     Men  of  Harlech  Peerless  Quartet 

HINTS  FOR  TEACHERS 

The  relation  of  Wales  to  the  British  Empire  is  of  great  interest. 
The  physical  aspect  of  this  tiny  land  makes  possible  much  contrast  in 
its  folk  lore.  This  should  be  carefully  considered.  The  Welsh  bards 
were  our  first  story  tellers,  and  by  many  authorities  they  are  believed 
to  be  our  first  wandering  musicians.  The  Welsh  who  have  settled  in 
America  have  brought  many  of  their  customs  with  them,  and  many 
of  our  best  chorus  concerts  are  given  by  the  Welsh  Choirs. 

QUESTIONS 
Of  what  character  are  the  first  and  second  selections  ?    What  prin- 
ciples does  the  third  represent?    Which  is  a  legendary  song?    Which 
represents  poetic  thought? 

4S 


The     Principles     of     Music 

CHORUSES 
Men  of  Harlech. 

The  Sun  Smiles  in  Beauty  (Old  Welsh  Air,  The  Ash  Grove). 
Forth  to  the  Battle. 
Ash  Grove  (Old  Welsh). 


Lesson  XXVIII 

Scotland 

As  national  music,  that  of  Scotland  has  been  always  recognized 
as  individual,  and  possessed  of  an  unusual  charm  in  melody  and 
rhythm.  Although 
it  existed  from 
very  early  times, 
the  Scotch  music 
was  not  generally 
known  in  England 
until  the  reign  of 
Charles  II.  The 
half  century  after 
the  Restoration 
was  a  busy  one  for 
the  Jacobite  poets, 
and  many  of  the 
verses  of  this  time 
were  set  to  tunes 
already  known. 
The  borderland  ballads  of  this  period  belong  equally  to  England  and 
Scotland. 

Like  all  folk  music,  that  of  Scotland  was  more  or  less  influ- 
enced by  the  instruments  used  by  the  people.  Their  national  instru- 
ment is  still  the  bagpipe,  and  it  is  the  use  of  this  tonally  restricted 
instrument,  which  probably  accounts  for  the  fact  that  most  of  the 
Scotch  melodies  are  based  on  the  pentatonic  or  five-tone  scale.  Many 
of  our  best-known  Scottish  songs  are  settings  of  the  poems  of  Robert 
Burns.  We  must  not  forget  our  debt  to  Sir  Walter  Scott,  who  gave 
us  many  excellent  illustrations  of  the  greatness  of  Scotch  heroism  in 
his  novels  and  poems. 


: — "the    reel    of    tulloch" 


49 


The     Principles     of     Music 


17001 
64210 

16961 j 
17140 


ILLUSTRATIONS 

Highland  Fling     (Traditional) 

Loch  Lomond 

Jock  o'  Hazeldean 

Scots  Wha  Hae  Wi'  Wallace  Bled 

Scotch  Medley  March 


The  Battle  of  Killiecrankie     (2) 


Victor  Military  Band 

Evan  Williams 

John  Young 

Reinald  Werrenrath 

Sutcliffe  Troupe 

Will  Ye  No  Come  Back  Again 

Sutcliffe  Troupe 


HINTS  FOR  TEACHERS 


Recall  to  class 
the  clans  of  Scot- 
land and  the  dif- 
ferent songs  be- 
longing to  these 
clans.  In  speaking 
of  the  ' '  Border- 
land Ballads,"  re- 
call that  "Jock  o' 
Hazeldean"  is  a 
song  claimed  by 
both  Scotland  and 
England.  The 
national  use  of 
Scotch  melodies 
has  been  very 
popular  in  modern  music,  although  we  have  had  few  composers  from 
Scotland  itself.  Beethoven  used  many  Scotch  airs,  and  from  his  time 
to  the  present  day  the  charm  of  Scottish  music  has  been  very  strong. 

QUESTIONS 

What  is  the  principal  characteristic  of  the  Highland  Fling? 
What  voices  sang  the  Scotch  songs?  Which  song  is  legendary  in  char- 
acter ?  "Which  is  patriotic  ?  Which  expresses  poetic  thought  ?  Which 
tells  a  story? 

CHORUSES 

My  Heart's  in  the  Highlands. 

Annie  Laurie. 

Robin  Adair. 

Flow  Gently,  Sweet  Afton  (Burns). 


THE    SCOTCH    £WORD    DANCE 


50 


The     Principles     of     Music 

Auld  Lang  Syne. 

Wha'll  Be  King  But  Charlie? 

The  Campbells  Are  Coming. 


Lesson  XXIX 

England 

In  a  certain  sense  all  the  folk  music  of  the  British  Isles  belongs 
to  England,  yet  we  find  a  vast  difference  in  the  music  of  Ireland,  Wales 
and  Scotland,  not  only  in  distinction  from  each  other,  but  also  in  con- 
trast to  that  of  England  herself.  Each  country  may  be  characterized 
thus : 

Ireland — The  Harp. 

Scotland — The  Bagpipe. 

Wales — Chorus  Singing. 

England — The  Organ. 

We  find,  when  we  study  the  History  of  Music,  that  the  English 
possessed  a  remarkable  school  of  counterpoint  in  mediaeval  days.  This 
was,  in  a  certain  sense,  a  handicap  to  free  musical  expression,  as  all 
music  was  written  along  certain  formal  lines  of  construction.  The  in- 
fluence of  France  is  very  distinctly  seen  in  the  early  dialogues  with 
music,  which  were  popular  in  Elizabethan  days.  All  the  instruments 
at  that  time  were  imported  from  either  France  or  Italy,  and  the  music 
is  all  reflective  of  the  artificiality  of  Court  life.  Yet  among  the  com- 
mon people,  song  springs  spontaneously  from  the  heart,  and  whether 
it  be  in  days  of  trial  or  warfare,  or  in  days  of  peace  and  contentment, 
it  finds  its  ultimate  expression. 

The  most  distinctly  English  songs  are  those  which  we  designate 
as  "Old  English";  they  are  a  product  of  the  late  seventeenth  century. 

ILLUSTRATIONS 

17087     May  Pole  Dance— Bluff  King  Hal  Victor  Military  Band 

74077     Drink  to  Me  Only   With  Thine  Eyes     (Ben  Jonson) 

Emilio  de  Gogorza 
17190     The  Lass  With  the  Delicate  Air       Dr.  Arne)  Olive  Kline 

17086     Morris  Dance — Laudnum  Bunches  Victor  Military  Band 

51 


i  h  e      Principles      of     M u  s  i  c 

HINTS  FOR  TEACHERS 

Call  the  attention  of  your  class  to  the  songs  to  be  found  in  Shake- 
speare. Especially  notice  the  holiday  songs  as  "  Heigho  the  Holly"  and 
the  May  song,  "It  Was  a  Lover  and  His  Lass,"  from  "As  You  Like 
It";  the  hunting  songs  and  glees.  Remind  your  class  that  Shake- 
speare would  not  have  introduced  these  songs  had  they  not  been  in 
popular  use  at  his  time.  The  class  should  also  be  told  of  the  great 
settings  of  Shakespeare,  made  by  Schubert,  Mendelssohn  and  other 
modern  composers.  (Many  of  these  settings  will  be  found  in  the 
Victor  Catalogue.) 

"Drink  to  Me  Only  With  Thine  Eyes"  is  an  Elizabethan  song. 
Recall  to  class  the  period  of  the  "Cavalier"  and  "Round-Head" 
parties.  The  songs  of  the  Puritans  were  gloomy  and  disagreeable  in 
contrast  to  the  dashing  gaiety  of  the  drinking  songs  of  the  Cavaliers. 

In  discussing  the  national  songs  of  England  remember  that 
"Rule  Britannia"  reflects  the  style  of  the  opera  of  Arne's  day,  and  is 
hardly  fitting  as  an  example  of  patriotic  song,  that  style  being  much 
better  suited  to  the  setting  of  a  dainty  verse  like  that  of  the  "Lass 


AN     ENGLISH     MAY     FESTIVAL 
52 


The     Principles     of     Music 

with  the  Delicate  Air."  "God  Save  the  King"  is  now  said  to  have 
been  imported  from  Saxony,  and  some  authorities  say  it  does  not 
belong  to  England  any  more  than  to  America,  Explain  how  it  was 
used  first  by  England  and  then  the  United  States. 

QUESTIONS 

What  voice  sings  the  second  selection  ?  In  what  style  is  the  third  ? 
Compare  the  two  dances.  Which  selections  are  examples  of  dance 
games  1 

CHORUSES 

The  Jolly  Miller 

The  Lass  of  Richmond  Hill  (McNally). 

Come  Unto  These  Yellow  Hills. 

God  Save  the  King. 

Rule  Britannia  (Dr.  Arne). 

Listen  Lordlings. 


L 


ess  on 


XXX 


Much  has  been 
written  of  the  folk 
music  of  America 
in  the  past  few 
years,  and  many 
musicians  believe 
the  future  of  our 
American  School 
rests  on  the  use  of 
Indian  melodies 
only,  while  many 
others  argue,  that 
the  songs  of  the 
American  negroes 
are  our  national 
music.  In  our 
study    of    folk 


the  virginia  reel 
'when   mother  was  a  girl'  the  belles  were  fairer 
than  to-day" 


53 


The     Principles     of     M  it  s  i  c 

music  we  have  found  that  the  influence  of  struggles  and  triumphs,  of 
joys  and  sorrows,  all  leave  their  impression  on  the  music  and  art  of 
any  people. 

America  has  been  called  "the  great  melting  pot  of  the  world" 
because  here  we  find  people  from  all  the  races  of  the  world,  yet  the 
two  races  which  are  the  most  closely  identified  with  early  civiliza- 
tion in  America  are  the  Indians  and  the  negroes. 

In  Louisiana  we  find  many  French  influences,  and  the  Spanish 
expression  in  southern  California  is  unmistakable  in  the  architec- 
ture, art  and  music,  but  neither  of  these  have  influenced  national 
art.  As  all  music  developed  from  primitive  man,  so  the  Indian 
chants  and  dances  are  of  exceedingly  great  interest  in  the  building 
of  an  American  individual  expression.  Yet  the  songs  of  the  planta- 
tion negroes,  born  in  slavery,  have  an  expression  of  individual  folk 
character,  which  is  also  original  and  distinct. 

We  have  seen  that  folk  music  in  other  lands  has  developed  dur- 
ing the  days  of  hardship,  and  has  been  inspired  by  wars  and  oppres- 
sion. We  are  too  near  our  own  music  to  rightly  judge  its  true  worth, 
but  there  are  many  of  the  war  songs  of  1861,  as  well  as  the  ballads  of 
that  period,  which  will  undoubtedly  be  classed  as  American  folk  song 
in  future  days. 

ILLUSTKATIONS 

64190     From  the  Land  of  the  Sky-blue  Water     (Cadman)  Alma  Gluck 

64200     The  Moon  Drops  Low     (Cadman)  Janet  Spencer 

|,™|   Old  Folks  at  Home      (Foster)  Elsie  Baker 

I   My  Old  Kentucky  Home     (Foster)  Harry  Macdonough 

74246     Deep  River — Negro  Melody     (Coleridge-Taylor)  Maud  Powell 


HINTS  FOR  TEACHERS 

Have  class  write  a  list  of  American  songs  which  they  think  are 
folk  songs  in  character  and  style.  Explain  the  work  of  Cadman  and 
others  in  their  use  of  Indian  melodies,  and  also  tell  of  the  work  Cole- 
ridge-Taylor, the  English  composer,  has  done  with  negro  melodies. 
Lesson  XXIX,  Course  II,  will  aid  you  in  your  presentation  of  this 
subject. 

QUESTIONS 

Which  voices  sang  selections?  What  instrument  played  the  last? 
What  other  American  folk  songs  can  you  suggest?  Classify  the  fol- 
lowing as  legendary,  dance  or  patriotic  songs : 

54 


The     Principles     of     Music 

Dixie  Land  (Dan  Emmet). 

Maryland,  My  Maryland  (Randall). 

Marching  Through  Georgia  (Work). 

Yankee  Doodle. 

Hail  Columbia  (Hopkinson-Fyles). 

Star  Spangled  Banner  (Francis  Scott  Key). 

CHORUSES 
All  the  above  songs,  and 
Massa  Dear  (Johnson). 
Red,  White  and  Blue  (Becket). 
Old  Black  Joe  (Foster). 
Song  of  a  Thousand  Years  (Work). 
Come  Where  My  Love  Lies  Dreaming  (Foster). 

REVIEW  AND  EXAMINATIONS 

In  giving  an  examination  several  records  should  be  played  and 
pupils  should  write  on  paper,  names  of  compositions,  composers,  if 
any ;  nationality ;  by  what  voice,  instrument  or  combination,  illustra- 
tion was  presented ;  and  what  principle  of  expression  it  represented. 

Note  books  should  count  for  one-half  of  yearly  standing. 


IN    COLONIAL    DAYS 
55 


The  History  of  Music 


.      COURSE  II 

Treface 

In  taking  up  the  History  of  Music  as  a  serious  study  with  your 
class,  always  remember  that  the  history  of  any  art  is  a  record  of  cul- 
tural development,  and  should  not  be  devoted  entirely  to  individual 
biography.  Also  make  it  clear  that  music  is  closely  related  to  the 
development  of  civilization,  and  that  the  events  of  the  world's  history 
are  definitely  reflected  on  music's  growth. 

In  considering  the  history  of  civilization,  we  find  that  music, 
although  the  oldest  of  the  arts,  is  the  last  to  be  seriously  developed ;  a 
nation  first  becomes  great  through  conquest ;  it  next  assumes  commer- 
cial, then  political  importance ;  then  begins  a  development  of  its  arts, 
of  which  architecture,  sculpture  and  painting,  "the  visible  arts,"  are 
first  considered;  next  comes  literature  and  the  drama;  and  last  of  all, 
that  art,  which  is  the  first  expression  of  primitive  man — Music. 

As  this  course  can  be  but  an  incomplete  treatise  on  musical  his- 
tory, students  should  have  access  to  a  good  work  on  the  subject,  and 
should  carefully  study  their  notes  made  in  the  classroom,  with  the  aid 
of  a  definite  History  of  Music  to  guide  them.  Teachers  should  make  a 
strong  point  of  the  correlation  of  musical  events  to  historical  events 
and  literary  epochs,  with  which  the  class  are  already  familiar. 

It  is  suggested  that  short  papers  on  the  lives  of  the  greatest  com- 
posers should  be  written  by  pupils  from  time  to  time,  and  that  out- 
side reading  of  individual  biography  should  be  done  before  the  work 
is  taken  up  in  the  class.  Teachers  should  assign  each  week  the  advance 
reading  that  is  to  be  done.  The  second  year 's  course  will  require  more 
outside  reading  than  that  of  the  first  year.  Teach  the  pupils  to  make 
frequent  and  intelligent  use  of  the  public  library. 

The  course  is  divided  into  thirty  lessons,  as  follows : 

I.  Chronological  Classification. 
II.  Music  of  the  Ancients. 

III.  Music  of  the  Greeks. 

IV.  Music  of  the  Early  Church. 

V.  Secular  Music  in  Mediaeval  Days. 

56 


The     History     of     Music 

VI.  Mediaeval  Schools  of  Music. 
VII.  Birth  of  the  Opera  to  Handel 
VIII.  The  Oratorio  to  Handel. 

IX.  Bach. 

X.  Gluck. 

XI.  Haydn. 
XII.  Mozart. 

XIII.  Beethoven. 

XIV.  Schubert  and  German  Lieder. 
XV.  Romanticism  in  Germany. 

XVI.  Romanticism  in  France. 

XVII.  Opera  before  Wagner. 
XVIII.  Wagner. 

XIX.  The  Influence  of  Wagner. 
XX.  Brahms. 

XXI.  Modern  Music. 
XXII.  Russian  School. 

XXIII.  Scandinavian  School. 

XXIV.  Bohemian  School. 
XXV.  Modern  German  School. 

XXVI.  Modern  Italian  School. 
XXVII.  Modern  French  School. 
XXVIII.  English  School. 
XXIX.  American  School. 
XXX.  Review. 

CHORUSES 

The  following  choruses  are  suggested  for  use  with  the  first  six 
lessons,  as  they  belong,  in  a  general  way,  to  the  period  discussed : 

Religious 
My    Salvation's    Tower    (Hebrew    Tune).      (Sung    at    Feast    of 
"Judas  Maccabeus. ") 

To  God  on  High  (Ancient  Church  Tune). 

Evening  Hymn  of  St.  Ambrose  (Piericini). 

Adoramus  Te  (Palestrina). 

Hear  My  Prayers  (Palestrina). 

Chorale  (Michael  Praetorius,  1586-1610). 

Chorale  (Johann  Gruger,  1649). 

Secular 
War  Song  of  the  Normans  (Ancient  Tune).     Said  to  have  been 
sung  at  the  Battle  of  Hastings. 

Ballade  of  Jeanne  d'Arc   (Old  French). 
The  Butterfly  (Old  French). 

57 


The     History     of     Music 
Lesson  J 

Ch  ronolagical   Classification 

In  Course  I  we  found  that  music  can  represent  man's  thought 
and  feeling  by  expressing  Patriotism,  Logical  Reasoning,  Religion, 
Love  and  Gaiety.  The  four  principles  of  music  which  make  possible 
the  expression  of  these  thoughts,  are:  Nationality,  Formal  Construc- 
tion, Poetic  Thought,  Program  Music.  We  have  learned  to  recognize 
these  elements  in  music,  either  in  instrumental  or  vocal  compositions. 
We  have  found  that  the  basis  of  all  development  of  music  rests 'on 
Nationality,  which  is  first  manifested  through  the  folk  song  or  dance, 
the  legendary  song,  the  patriotic  song  and  the  modern  national 
expression. 

We  shall  now  study  in  definite  chronological  relationship,  the 
development  of  music,  from  ancient  days  to  our  modern  time.  We 
shall  find  Musical  History  divided  into  the  following  general  periods : 

Ancient  Music.    To  the  Birth  of  Christ 
Development  of  music  of  the  Assyrians,  Hebrews  and  Egyptians. 
The  science  of  Greek  music. 

Early  Church  Schools.    From  Birth  of  Christ  to  Thirteenth  Century 
Schools    of    counterpoint    and    polyphony    develop    through   the 
influence  of  the  Church. 

Secular  Schools.     Twelfth  Century  to  Seventeenth  Century 
Secular  music  developed  by  the  Troubadours,  Jongleurs,  Minne- 
singers and  Meistersingers. 

Musical  Renaissance.    Seventeenth  Century. 
Rise  of  individual  expression  gives  birth  to  the  opera  and  ora- 
torio in  Italy.     Their  development  in  Italy,  France,  Germany  and 
England  in  the  seventeenth  century. 

Classical  School.    Eighteenth  Century 
Development  of  formal  music  from  Bach  to  Beethoven. 

Romantic  School.    Early  Nineteenth  Century 
Rise  of  individuality ;  giving  expression  in  program  music,  virtu- 
osity and  nationality.    From  Beethoven  to  Wagner. 

Modern  Music.    Late  Nineteenth  Century  to  Present  Day 
Rise  of  the  modern  schools  of  national  expression. 

58 


The     History     of    Music 


ILLUSTRATIONS 
61108     Offertorio  e  Communione     (Gregorian  Mass) 
17290    Summertime     (Minnesinger) 


64198 


(1)  Gavotte     (Gretry) 


Sistine  Choir 

Mischa  Elman 
Mischa  Elman 


\  (2)  Tambourin     (Gossec) 
88276     Siegmund's  Love  Song     ("  Die  Walkure  ")     (Wagner) 

Riccardo  Martin 

63302     Comedian's  March— "  The  Bartered  Bride"     Kryl's  Bohemian  Band 

HINTS  FOR  TEACHERS 

These  illustrations  show : 

Religion,  as  expressed  in  Early  Church  School; 

Folk  Music,  as  expressed  by  the  Secular  School; 

Formal  construction  of  Classic  School; 

Love — Romantic  School ; 

Gaiety,  Nationality — Modern  School. 
Distinguish    these    elements    as    illustrated    in    these    selections. 
Recall  to  class  the  great  historical  events  of  these  periods,  and  the 
development    of    literature 
and    art     during     these 
epochs. 

QUESTIONS 

Which  is  the  earliest 
composition  given?  Which 
the  most  modern?  Which 
belong  to  Classic  School? 
Which  is  Romantic  ?  What 
instrument  plays  the  third  ? 
What  form  does  this  illus- 
trate? Which  voice  sings 
the  fourth?  Is  it  a  song, 
or  from  opera,  or  oratorio? 


ANGEL    WITH     LUTE 
ice  of  Music  on  painters  of  the  Etenaissan 


Lesson  II 

The  Music  of  the  Ancients 
Our  most  authentic  record  of  the  music  of  the  ancients,  is  that 
which  is  depicted  by  the  bas  reliefs,  and  wall  paintings,  of  the  Assy- 
rians and  Egyptians.     Although  the  Hebrews  were  undoubtedly  the 


59 


The     History     of     Music 


best  musicians  of  ancient 
days,  they  left  us  no  visi- 
ble record  of  their  musical 
instruments,  for,  fulfilling 
the  letter  of  the  law,  the 
children  of  Israel  made  no 
graven  images.  It  must  be 
remembered  that  the  de- 
scription to  be  found  in 
our  Bibles  to-day,  cannot 
be  considered  authentic, 
for  when  the  translation 
was  made,  during  the 
reign  of  James  I  of  Eng- 
land, practically  nothing 
was  k  n  o  w  n  of  ancient 
music,  and  the  musical 
instruments  in  use  at  his 
time,  were  substituted  for 
those  of  Israel. 

The  Assyrians  being  a  warlike  race  used  instruments  of  percus- 
sion, and  where  wind  instruments  were  employed,  they  were  the  mili- 
tant trumpets  and  drums.  Their  stringed  instruments,  of  which  the 
dulcimer  (the  ancestor  of  our  zither)  was  the  most  popular,  were  all 
made  with  metal  strings  and  very  often  metal  janglers,  similar  to 
those  now  on  tambourines,  were  attached.  All  Assyrian  music  was 
high  pitched  and  penetrating.  In  some  bas  reliefs  we  see  the  figures 
of  the  women,  pinching  their  throats  to  make  a  high  shrill  tone. 

The  Egyptians  had  a  definite  science  of  music,  which  ante- 
dates 3000  B.  C.  and  was  closely  connected  with  religion  and 
astronomy.  During  the  Golden  Age,  1500-1200  B.  C,  music  was 
employed,  not  only  as  a  social  diversion,  but  as  an  adjunct 
to  religion.  Professionally  trained  dancers  and  singers  formed 
schools  of  music,  where  were  also  to  be  found  large  bands  of 
instrumentalists  and  choruses.  In  many  wall  paintings  we  see  repre- 
sentations of  these  large  orchestras;  they  are  always  conducted  by  a 
leader,  and  a  preponderance  of  stringed  instruments  is  noticeable. 
The  Egyptians  used  the  lyre  and  the  lute,  but  the  national  instrument 


ASSYRIAN     INSTRUMENTS 

et.  :i.     Dulcimer. 

4.     Lyres I  Ts 


60 


The     History     of     Music 


was  the  harp,*  which  we 
find  in  all  sizes,  from  those 
carried  in  the  hand,  to  the 
immense  temple  harps  of 
twenty-three  strings.  In 
days  of  battle,  trumpets 
and  drums  were  employed, 
but  the  wind  instruments, 
which  were  the  most  popu- 
lar in  Egypt,  were  the 
single  and  double  pipes  or 
flutes.  These  blended  well 
with  the  stringed  instru- 
ments. A  typical  Egyp- 
tian instrument,  which  the 
Hebrews  and  Greeks  both 
borrowed  from  their  Nile 
neighbors,  was  the  sistra 
or  sistrum,  a  horseshoe- 
shaped  bar  of  metal,  with 
a  handle.  When  this  was 
shaken  in  the  hand  the  metal  janglers  fastened  across  it  vibrated  with  a 
tingling  rhythm,  which  was  used  to  accompany  the  temple  dances. f 
It  was  from  the  Egyptians  that  the  Hebrews  and  Greeks  obtained 
their  knowledge  of  the  science  of  music.  The  Hebrews  also  borrowed 
instruments  from  the  Assyrians,  as  well  as  the  Egyptians,  and  with  the 
well-known  musical  ability,  which  has  always  been  an  attribute  of  the 
Hebrew  race,  it  is  not  surprising  that  the  Israelites  had,  not  only  a 
definite  science,  but  a  direct  influence  on  our  modern  musical  develop- 
ment. Large  choirs  of  voices  and  instruments  were  used  in  the  relig- 
ious service  of  the  Hebrews,  and  during  the  reign  of  King  Solomon 
4,000  musicians  were  employed  in  the  temple  service.  All  religious 
music  was  chanted  by  the  priests  and  answered  by  the  choir,  in  the 
form  we  know  in  the  Catholic  Church  to-day  as  antiphonal  singing.J 
The  earliest  instrument  of  the  Hebrews  was  the  Shofar,  a  trumpet 


ASSYRIAN      INSTRUMENTS 


1       I.vr.',  :i  <ti 

illKS. 

4. 

Assyrian  lute 

2.     L\  re,  10  si 

rmes. 

5 

Duuble  flute. 

3.      A-s\  linn  1 

TO. 

*  It  was  while  in  captivity  in  Egypt  that  the  Israelites  learned  the  beauties  of  the  harp,  which 
they  adopted  as  their  national  instrument.  These  small  hand  harps  were  those  used  by  David. 
See  also  Psalms  CXXXVII,  1-5. 

tit  was  undoubtedly  the  sistra  that  Miriam  used  as  accompaniment  to  her  song  of  triumph. 

t  The  psalms  of  David  were  written  to  be  sung  in  this  antiphonal  manner.  We  still  use  them 
this  way  as  "  Responsive  Readings  "  in  our  Protestant  churches  to-day. 

61 


The     History     of     Musi  c 

made  from  a  ram's  horn,  and  still  used  in  the  orthodox  temples,  to 

assemble  the  congregation  on  festival  and  holy  days.     These  horns 

were  duplicated  in 
brass  for  use  in 
times  of  war,  yet 
strangely,  we  find 
no  records  of 
drums  or  percus- 
s  i  o  n  instruments 
being  used  by  the 
Hebrews.  Pipes 
and  flutes  were 
often  combined 
with    the    lyre, 

the   psaltery   and   the   harp,   and   the   sistra   is   frequently   noted   in 

temple  use. 

ILLUSTRATIONS 

64228     Birchos  Kohanim     (Benediction  by  the  Priests) 

Cantor  G.  Sirota  and  Chorus 

64231     Kawokores  Rohe  Adre      (Like  a  Shepherd) 

Cantor  G.  Sirota  and  Chorus 

HINTS  FOR  TEACHERS 

The  illustrations  are  records  made  by  the  greatest  Jewish  cantor. 
Sirota,  of  the  Orthodox  Synagogue  of  Warsaw.  The  chants  are  in  the 
antiphonal  style  and  are  in  the  traditional  manner  of  Biblical  times. 


EGYPTIAN     DANCE 


L 


esson 


III 


The  Music  of  the  Greeks 

The  Greeks  adopted  their  musical  science  from  the  Egyptians. 
It  is  customary  to  divide  Greek  music  into  three  general  periods: 

1.  Mythical  Age — prior  to  675  B.  C.  (As  the  Pythian  Games 
founded  1000  B.  C.  introduced  musical  contests,  it  is  customary  to 
begin  the  knowledge  of  Greek  musical  science  from  that  date.)  It  was 
during  this  period  that  the  mythical  stories  of  the  power  of  music, 


The     History     of    Music 


FRENCH     REPRESENTATION     OF    OLD     GRECIAN     DANCE 


as  illustrated  by  Hermes,  Pan,  Apollo,  Marsyas,  Orpheus,  Amphion, 
originated.  Homer  (950  B.  C.)  was  responsible  for  the  heroic  poetry 
recited  by  the  bards  to  the  accompaniment  of  the  lyre. 

2.  Classical  Period — 650-338  B.  C.  Macedonian  Conquest.  This 
period  really  culminated  in  the  fifth  century  in  Athens.  The  greatest 
names  associated  with  the  music  of  this 

time  were,  the  musicians  Terpander, 
Pythagoras,  Arion ;  the  poets  Alcarns 
and  Sappho;  and  the  Attic  School  of 
Drama. 

3.  Alexandrian  Period  —  325 
B.  C.  to  Christian  Era.  During  this 
time  the  original  thought  in  art  gave 
way  to  servile  copying  of  the  past  great 
works.  This  is  the  period  of  Roman 
music  also,  which,  like  the  other  forms 
of  art,  was  but  a  bad  imitation  of  that 
of  Greece. 

The  Greek  scale  was  founded  on 
the  tetra-chord,  meaning  four  tones. 
In  different  localities  of  Greece  the 
position  of  the  half  tone  in  the  tetra- 


TERPSICHORE 

Note  example  of  prlmitl 


63 


The     History     of     M  u  s  i  c 

chord  varied,  thus  we  have  as  the  principal  scales :  Dorian,  Phrygian, 
Lydian,  Mixo-Lydian,  Hypo-Dorian,  Hypo-Phrygian  and  Hypo 
Lydian.* 

The  Greeks  were  especially  fond  of  stringed  instruments,  the  lyre 

and  cithara  being  the  most  popular;  the 
wind  instruments  were  the  auloe  or  long 
flute,  the  single  and  double  flutes,  and 
syrinx  or  Pan's  pipes,  a  mouth  organ  of 
seven  reeds  bound  together.  They  used 
but  few  percussion  instruments,  and 
these  were  small  in  size,  being  mostly 
tambourines,  cymbals  and  the  sistra. 
Trumpets  and  horns  of  brass  were  used 
occasionally,  but  were  very  popular  in 
Roman  days. 

In  the  Greek  theatre,  the  choruses 
and  the  dancers  were  of  great .  impor- 
tance. Many  of  the  principal  actors 
sang  their  lines  with  an  accompaniment 
on  the  lyre. 

apollo  The   method   of  notation   employed 

by  the  Greeks  indicated  only  the  places 

where  the  breath  should  be  taken,  hence  the  signs  used  were  known  as 

neum.t     Later  a  definite  written  language  was  developed  from  the 

neum  notation. 

ILLUSTRATIONS 

35279     Hymn  to  Apollo  (Found  at  Delos,  1893)      (Harp  ace.  by 

Emma  Rous)  Elsie  Baker 

.,j-iif  Kyrie  Kekraxa  Greek  Church  Choir 

\  Kinonikon  Greek  Church  Choir 

HINTS  FOR  TEACHERS 

In  presenting  these  records  try  to  have  class  feel  the  difference 
between  the  religious  feeling  expressed  in  the  Hymn  to  Apollo  and 
the  hymns  used  later  in  the  Church  service.  If  possible  play  again 
one  of  the  Sirota  records  that  class  may  compare  them.  Remember 
that  the  Greek  Church  kept  a  much  purer  form  of  the  Greek  service 
of  music  than  did  the  Latin  Church. t 

*  It  was  from  the  combination  of  the  double  tetra-chords  of  the  Greek  scales  that  our  major 
and  minor  scales  were  later  developed. 

t  This  term  is  derived  from  the  Greek  word  meaning;  breath. 
+  The  Russian  Church  of  today  belongs  to  the  Greek  Church. 


64 


The     History     of     Music 


Lesson  IV 

The  Music  of  the  Early  Church 
During  the  early  days  of  Christianity,  music  was  divided  into 
Religious  Music  and  Secular  Music.  When  the  bands  of  Christians 
met  in  the  secret 
chambers  of  the  Cata- 
combs, psalms  were 
chanted  as  a  part  of 
the  service,  in  the  old 
antiphonal  manner 
of  the  Hebrews. 
With  the  establish- 
ment of  the  Greek 
Church,  Greek  meth- 
ods were  also  em- 
ployed. From  the 
legendary  history  we 


CHURCH     OF     ST.      AMBROSE,     MILAN 


know  of  St.  Cecilia,  St.  Augustine  and  others,  we  realize  the  important 
part  music  played  in  the  early  religious  enthusiasm. 

Secular  songs  and  dances,  as  well  as  all  instrumental  music, 
became  a  part  of  the  daily  life  of  the  people  and  was  entirely  distinct 
from  the  religious  forms  until  the  time  of  the  Crusades. 

The  important  names  of  the  Early  Church  School  are :  Ambrose 
(333-397),  Bishop  of  Milan,  394,  collected  the  old  chants  then  in  use, 
for  a  definite  form  of  Church  service,  and  sent  missionaries  to  North- 
ern Europe  to  teach  the  Ambrosian  chant.  Ambrose  used  four  of  the 
Greek  modes  known  as  authentic.  We  know  little  of  his  chant,  save 
that  it  was  metrical. 

Pope  Gregory  (—  -  d.  604)  destroyed  the  Ambrosian  chant 
and  established  the  Gregorian  chant  or  Plain-Song  now  in  use  in  the 
Catholic  Church.  These  chants  were  written  in  a  large  book  called 
Antiphonarium,  and  the  notation  of  the  Greek  neums  was  used.  Greg- 
ory added  to  the  four  authentic  modes — the  four  Plagal  modes  as 
well.  He  established  schools  for  choristers  and  gave  a  definite  form 
to  the  mass.* 

*The  musical  mass  in  its  regular  form  consists  ef  these  parts  :  (a)  Kyrie  Eleison,  a  general 
plea  for  mercy;  (b)  Gloria  in  Excelsis,  which  is  sometimes  divided  into  three  distinct  sections, 
opening  with  the  words  Dominus  Deus,  Qui  tollis  and  Quoniam  tu  solus:  (c)  the  Credo  or  Nicene 
Creed;  (d)  the  Sanctus,  with  the  Hosanna  before  the  elevation;  (e)  the  Benedictus  after  the  eleva- 
tion; (f)  Agnus  Dei.  Sometimes  to  the  mass  are  added  the  Gradual  (the  hymn  sung  between  the 
Epistle  and  the  Gospel),  and  the  Offertorium  (the  hymn  which  follows  (he  ('redo),  but  both  of 
these  are  variable. 

65 


The      History     of     Music 


KXAMIM.KS  OF  HAKIA'   NOTATION 


FIRST      PAG1       OP       in  E      GR1  Gl  IF  I  *  N 
ANTIPHONAL 


f  jfi^Li'V1"   i|»  dm    it.f.'M>nf"  aiir  i'i.lnls\n.ii' 


I    - 


qui       rum  i/Qiud  rlon.ui    in  ifuun  i  >|i" 
,.,' i  in   ill  III  ■"    I.kIiiiIm.*  mi  imIiiu  till 

,,  1-n  i, ,ii    ,,  ,i.,i-        hi. i    ii 

mini  indo 

niu •""•"•••-■  -•*-'.  -"     v  Vi 

.linn   in. i 

liliiVllll.Wll  Ml  

/    »      *.,tt^-*'    ./w'»'v*»    .-*■«*  ■■-■ 
i.wnit  iu  '  JM"  1*1       IHH"   °» 

r^-T     Or  Gion     «  o  Km,, 

in  D    U  \M  SCR]  r  rS 

■ 
■ri  mil  (Vim, ,i. 
(c.)  Zurich,  Thirl 


(a.) 


yu.  v. — >,-■    ,■  j__ 

i„%^  •••*•»  A.lJTwrJ*»rH 


'rJ**ri^»n  iy*liiN  wwur  mm  | 


W  nOT  awl-  ■  n'fcfr [  j,    nBlL»-  ^    * 

■«  iv.ir*^^.,  .„^vTy  ,Vl.-|«'i«r<\ 


-  i-ll—v  ^  V..UI', 


k     "^*  *3P""  f*f|-*rtj  t^,4U«L>f         u 


— .»  iW»d  W«*-»jfJT«fl!l...mr.4i 


'i 


.   wit  w»A  ,1Tviii  fjpvW- 
"   kw«u  irvpl,  iin*»f 
J  JiiiyoJ.i.^, 

■      -      »Um\lw,, 

w  m  x^iti  i  trtfui*MUM  u  .i      . 


\ 


SI'li'IMix      01        ill    i   It  A 1  11      MANl'SCKirr 


U-  -  ■    •  ■•  •" 

"  "v:  --.  -.  :N.      •• 

■     ■«  ■    ■   ■ 

v.i  gtlhoi'  hnnU  moi.  folUC  pollun 

'■■'■■"..•■••.,- 

utni  iv.ini  k'c  iol\\v 


FOURTEENTH    CENTUR.     MANUSCRIPT  OF    in  \i  N 

TO    ST.    JOHN     i  II  i      BAP1 


66 


T  he      1 1  i  s  t  o  r  v     of     M  u  s  i 


mjafcfc^MRaai^ 


Hucbald  of  Flanders  (840 
930  i  tried  to  establish  harmony 
on  the  basis  of  scientific  rela- 
tionship of  tone.  He  attempted 
reforms  in  Dotation  and  made  use 
o\'  parallel  lines  to  indicate  tonal 
relationship,  from  which  comes 
Our  present   staff. 

(initio  of  Anv./.o   (995-1050) 
established    the    method    of    sol 
feggio  in  use  to-day,  thus  simpli- 
fying the  teaching  o\'  music.     He 
used  colored   lines  oil   which  the 

neimis     were     written,     and     indi- 
cated by  means  o\'  Letters,  before 
each   line,   that    all   nenms  on  said 
line    Were  o\'  a    Certain    pitch,   and      ,.,,,.,    Gregory    dictating    his    antiphonai 
those   above   and    helow    were   thus 

given  a  definite  relationship.    The  line  letters  used  were  C,  (!.  and  F, 
and  from  these  developed  our  clefs  of  to-day. 

Franco    of    Cologne     (thir- 


™-^V>7'\ 


\  / 


|L .        p 

,  :'\i  (  y 


H 


ibom  "Ctmimrs  scbiim, 

GUIDO      01        Ull       0      EXPLAINING      HIS      I'SE     OF 
I  ii  r    UONOI  Hi  IRD    CO    I  in     BISHOP    I  H  i  ODA]  in  S 


teenth  century")    established  a  svs 

tern   of   representing   rhythm    by 

means  of  notohoads  signifying 
duration,    triple    time    being    used 

by  him  entirely. 

Thus,    our    three    elements    of 

music  rhythm,  melody  and  har- 
mony, were  developed  in  the 
Christian  Church,  with  harmony 

first,    melody    second   and    rhythm 

last. 

ILLUSTRATIONS 
<.112.<     Bxultate  Justi     Sistine  Choir 

71001     kviie  ELleison    (Gregorian 

High  Mass  i     Sistine  Choir 

Offertorio  e  Communione 
(.Gregorian  High  Mass) 

Sistine  Choir 


67 


The     11  i  s  t  o  r  y     o  f     M.  u  s  i  c 

HINTS  FOR  TEACHERS 

These  examples  of  Gregorian  chants  give  you  an  excellent  oppor- 
tunity of  presenting  the  antiphonal  chant  of  the  Catholic  Church. 
Compare  with  the  Sirota  and  the  Greek  Church  records.  It  may  be 
well  to  replay  one  of  each. 


L 


ess  on 


V 


Secular  Music  in  Media-veil  Days 

While  the  science  of  music  was  being  developed  by  the  Church, 
the  real  spirit  of  music  was  in  the  hands  of  the  common  people.  We 
have  found  that  all  that  is  best  in  music  rises  from  the  natural  feel- 
ing of  the  folk,  and  this  is  just  as  true  in 
the  early  development  as  it  is  in  the  found- 
ing of  our  modern  national  schools. 

The  early  Minstrels  were  divided  into 
two  classes:  the  Bard,  who  recounted  deeds 
of  chivalry ;  and  the  Minstrel  Musician, 
who,  in  addition  to  his  musical  attainments, 
did  tricks  also,  and  frequently  appeared  as 
an  actor  in  the  early  Miracle  and  Mystery 
Plays.  These  Minstrels  in  France  were 
known  as  Jongleurs,  or  Jugglers,  in  dis- 
tinction to  the  Troubadours,  or  French 
Knights,   who  sang  their  lays  to  the  fair 

CHURCH     OF     ST.      JULLIEN, 

paris,  1330  court    ladies.      When    they   settled   m   the 

cities  the  Minstrels  formed  guilds  similar  to  those  of  the  other  trades, 
the  earliest  being  the  order  of  Jongleurs  of  St.  Jullien  in  Paris,  which 
held  the  right  to  produce  all  the  music  for  that  city  and  refused  to 
allow  any  musician,  not  a  member,  to  play  there.  In  England  and 
Germany  similar  conditions  are  found,  the  town  pipers  of  Germany 
existing  in  some  places  until  the  middle  of  the  nineteenth  century. 

We  note  in  our  General  History,  that,  as  a  result  of  the  Crusades, 
there  ensued  a  period  known  as  "The  Age  of  Chivalry"  (Twelfth 
Century).  To  this  period  belong  the  Troubadours  of  France,  Italy, 
and  Spain  (called  Trouveres  in  Northern  France)  and  the  Minne- 
singers of  Germany. 


6r 


The     History     of     M  u  s  i  c 


THE      TABLATURE     OF     THE     MEISTERSINCERS 
OF    NURNBERG 


ST.      CATHERINES     CHURCH,     NURNBERG,     WHERE     THE 
MEISTERSINCERS     MET 


The     History     of     Music 


DECORATION     IN     MINSTRELS       HALL,     WARTBURG     CASTLE,     SHOWING     THE     ANNUAL     CONTEST 
OF    THE    MINNESINGERS 

The  Troubadours  counted  among  their  numbers: 
King  Thibaut  of  Navarre ; 
Richard  I  of  England ; 
"William,  Count  of  Poitiers ; 
Adam  de  la  Halle  ( d.  1287.     The  most  famous). 

These  Troubadours  wrote  in  the  simple  style  of  the  song,  and 
accompanied  their  melody  with  stringed  instruments.  They  fre- 
quently employed  Jongleurs  to  aid  them  in  furthering  their  cause. 

The  Minnesingers  (Thirteenth  Century),  Singers  of  Love,  carried 
on  the  same  movement  in  Germany.  They  were  also  the  epic  poets  of 
the  day,  and  the  greatest  German  poetic  versions  of  mediaeval  legends 
were  due  to  their  influence.  The  greatest  order  of  the  Minnesingers 
met  in  the  Wartburg  Castle  in  Eisenach,  and  included  Hermann,  the 
Landgrave  of  Thuringia,  Gottfried  von  Strassburg,  Heinrich  Tann- 
hauser,  Walther  von  der  Vogelweide,  Wolfram  von  Eschenbach  (these 
names  have  been  immortalized  by  Richard  Wagner  in  "Tannhauser") 
and  Heinrich  von  Meissen  ( d.  1318). 

An  outgrowth  of  the  Minnesinger  order  were  the  guilds  of  Meister- 
singers.  When  the  later  Crusades  drew  the  nobility  to  the  far  East, 
the  common  people  took  up  the  cause  of  music,  and  in  1300  their 
guilds;  known  as  the  Meistersingers,  became  incorporated  institutions. 


The     History     of    Music 

These  guilds  were  conducted  on  lines  similar  to  the  trade  organiza- 
tions, and  thus  the  science  of  music  was  encouraged.  Wagner  in  his 
opera  "Die  Meistersinger  von  Niirnberg"  introduced  us  to  the  cus- 
toms of  the  sixteenth  century  order,  which  was  dominated  hy  the  great 
genius,  Hans  Sachs  (1494-1576),  "a  shoemaker  and  poet,  too." 

ILLUSTRATIONS 

1729o'   When  the  Nightingale  Doth  Sing     (Troubadour)     iReinald 

\  Summer  Time     (Minnesinger)  /  Werrenrath 

HINTS  FOR  TEACHERS 

Have  pupils  look  up  the  dates  of  the  principal  Crusades  and  com- 
pare them  with  the  rise  of  secular  music.  Pupils  should  also  study 
the  poems  attributed  to  Gottfried  von  Strassburg  and  Wolfram  von 
Eschenbach,  and  note  how  Wagner  uses  their  Teutonic  versions  of  the 
old  legends  in  "Tristan  and  Isolde,"  "The  Ring  of  the  Nibelungen," 
"Lohengrin"  and  "Parsifal." 


L 


ess on 


VI 


Mediaeval  Schools  of  Music 

The  rise  of  definite  schools  of  music  was  a  result  of  the  general 
musical  knowledge,  which  was  fast  spreading  among  the  common  peo- 
ple. With  the  establishment  of  the  Uni- 
versity of  Paris  in  1100,  a  school  of  music 
was  considered  as  necessary  as  a  school  of 
science,  and  we  have  absolute  proof  that 
such  a  school  must  have  existed  in  Eng- 
land, because  we  have  the  manuscript  of  a 
six-part  canon  called  "Sumer  is  icumen 
in"  (probable  date  1225  to  1240). 

From  France  the  movement  spread  to 
the  Netherlands,  then  down  to  Italy,  and 
gave  rise  to  the  birth  of  Opera,  at  the  end 
of  the  Renaissance.  The  music  of  this 
period  was  originally  all  written  for  cho- 
ruses, and  was  composed  in  the  strict  an- 
tiphonic  style  of  the  Gregorian  chant,  later 


ADRIAN     WILLAERT 


71 


The     History     of     AI  u  s  i  c 

developing  into  the  polyphonic  or  many-voiced,  part  writing.  All 
music  was  composed  on  the  strictest  pattern  of  the  contrapuntal  devel- 
opment, the  canon  being  the   form  most  used,  as  giving  the  greatest 

opportunity     £or    the     display     of 
technical  knowledge. 

The  development  is  particu- 
larly associated  with  the  great 
School  of  the  Netherlands  (1450- 
1600).  This  school  is  generally 
divided  into  four  periods: 

First    period     (1450-1500). 
Rise  to  counterpoint  with  little  or 
no  consideration  of  melodic  beauty. 
Second     period      (1500-1540). 
Attempts    at    pure    tonal    beauty. 
Chief  master  of  this  period,   Jos- 
quin  des  Pres,  a  contemporary  of 
Martin   Luther,  whose  use  of  folk 
music  doubtless  influenced  Josquin. 
Third     period    (1540-1570). 
Netherlands     masters   go   to   Italy 
and  establish  the  Italian  Schools: 
Venice,  Adrian  Willaert — instruments. 
Rome,  Claude  Goudimel — choruses. 
Naples,  Johannes  Tinctor — solo  singing. 
Fourth  period    (1570-1600).     Counterpoint  made  subservient  to 
individual  expression.     The  great  master  of  this  period  is  Orlando  de 
Lassus    (1514-1594),   the  contemporary  of  the  great  Roman,  Pales- 
trina,  who  is  justly  regarded  as  the  greatest  composer  of  religious 
music  that  is  to  be  found  in  the  annals  of  the  Catholic  Church. 

This  period  corresponds  to  the  time  of  the  greatest  Gothic  archi- 
tecture and  follows  the  schools  of  painting  of  the  Netherlands. 

ILLUSTRATIONS 

35279     Sumer  is  icumen  in     (English  Canon,  Thirteenth  Century) 

Victor  Chorus 
71023     Filiae  Jerusalem     (Gabrieli)  Sistine  Choir,  directed  by  Perosi 

HINTS  FOR  TEACHERS 

"Sumer  is  icumen  in"  should  be  replayed  several  times,  as  it  is 
impossible  for  any  class  to  comprehend  it  at  one  presentation. 


PERSONIFICATION         OF         MUSIC         WITH         THE 
AUXILIARIES,     THE      PARTS     AND     THE      MUSI- 


72 


The     History     of    Music 

Gabrieli  was  the  first  follower  of  Willaert  in  the  instrumental 
school  of  Venice.  Recall  to  your  class  the  reason  why  Venice  was 
closely  identified  with  the  musical  instruments  of  the  far  East.  Refer 
here  to  the  fact  that  Pope  Pius  X  has  in  our  own  day  returned  to  the 
use  of  the  Gregorian  style  of  the  Early  Contrapuntal  Schools. 


Lesson  VII 

"Birth  of  Opera  to  Handel 

In  our  study  of  secular  music  we  find  that  all  the  Mysteries  and 
Miracle  Plays  were  given  with  music  and  that  occasionally  Pastoral 
Plays,  were  produced  with  music  by  the  Troubadours,  but  no  real 
development,  combining  the  drama  with  music,  takes  place  until  the 
seventeenth  century,  when,  through  the 
efforts  of  a  band  of  wealthy  Florentine 
nobles,  who  believed  that  the  Greek  drama 
was  originally  produced  with  musical  ac- 
companiment, the  form  of  opera  was  given 
to  the  world.  This  band  of  men,  known  as 
the  Camerata,  were  the  inventors  of 
Monody,  or  single  melody,  with  the  accom- 
paniment subordinated.  "With  their  first 
opera,  "Dafne, "  produced  in  1597,  they 
laid  down  the  principles  of  the  modern 
music  drama,  namely,  that  drama,  music 
and  interpreter  should  be  of  equal  impor- 
tance. 

In  1660  the  real  movement  began  with 
the  publishing  of  the  score  of  "Eurydice,"  a  music  drama  by  Peri 
and  Rinnuccini.  This  work  was  produced  for  the  marriage  of  Maria 
de  Medici  to  Henry  IV  of  France,  and  scores  were  sent  all  over  Europe. 

From  Florence  the  movement  now  spread  to  the  other  schools 
of  Italy ;  to  France,  Austria  and  Germany.  Its  development  in  Italy 
takes  three  forms.  (These  three  schools  founded  by  the  Netherland 
Masters  should  be  here  briefly  reviewed)  : 

Rome. — Development  of  choruses,  particularly  noticeable  in  the 
interest  shown  here  in  oratorio. 


JEAN    PHILIPPE    P.AMEAU 


73 


The     History     of    Music 


Naples.  — Vocal    display   becomes    of    greater    importance    than 
dramatic  action. 

Venice. — Instrumental  development  and   marvelous  stage  equip- 
ment.    Opera  divided  into  Opera  Seria  and  Opera  Buf'fa. 

(From  the  Venetian  School  many  important  results  are  observed, 
which  will  be  considered  in  detail  in  Course  IV.) 

In      Germany     the 

Thirty  Years'  War*  made 
the  expense  of  the  opera 
practically  impossible,  and 
we  find  but  few  works  in 
this  form  were  written. 

In    France    the    opera 
takes    at    once    a    popular 
place,  due  to  the  influence 
of  Perrin  and  Lully,  who 
showing  lute   and  viol  held  from  the  French  gov- 

ernment the  exclusive  rights  to  produce  opera  in  France. 

The  greatest  masters  of  opera  in  the  seventeenth  century  are : 

Venetian  School: 

Monteverde  (1567-1643)  introduced  violins  into  the  orchestra.t 
Cavalli  (1600-1676)  introduced  the  comic  element  in    opera. 
Carissimi  (1604-1674).     Oratorio  writer  of  Rome. 
Cesti  (1620-1669).    Pupil  of  Carissimi.    Attempted  to  combine 

ideas  of  this  master  and  Cavalli,  and  divided  the  opera 

into  Opera  Seria  and  Opera  Buffa. 


Neapolitan  School: 

Stradella  (1645-1681?). 
Alessandro  Scarlatti  (1659-1725), 


Contemporary  of  Handel. 


French  School: 

Perrin  ( 1675).     Founder  of  French  Opera. 

Lully  (1633-1687).     Founder  of  Italian  Opera  in  France. 
Rameau  (1683-1764).     Contemporary  of  Handel. 

English  School: 

Pelham  Humphreys  (1647-1674).     Founder  of  English  Opera. 
Henry  Purcell  (1658-1695).     Greatest  English  composer. 


*  The  remarkable  growth  of  instrumental  forms  in  Germany  is  a  direct  result  of  the  bringing 
into  the  country  of  all  the  folk  music  of  the  various  nations  engaged  in  this  struggle.  This  is  a 
point  which  should  be  frequently  reiterated. 

t  The  development  of  the  viol  family  (violin,  viola,  violoncello,  contra  bass)  is  a  direct  result  of 
the  intercourse  between  Venice  and  the  far  East.  The  rebec  of  the  East  was  combined  with  the 
crwth  of  Northern  Europe  and  became  the  viol;  this  reached  its  perfection  of  development  in  the 
School  of  Cremona  (established  by  Amati  in  1520),  which  was  especially  prominent  during  the 
seventeenth  and  early  eighteenth  centuries. 


The     History     of     Music 

German  School: 

Heinrich  Schiitz  ( 1672). 

Reinhard  Reiser  (1673-1739). 

At  the  time  of  Handel  the  Opera  Seria  had  long  been  separated 
from  the  true  music  drama,  and  was  in  reality  simply  a  string  of 
recitatives  and  arias,  sung  by  actors  in  costumes,  and  with  elaborate 
stage  settings,  but  as  the  individual  vocal  display  was  the  only  point 
which  musicians  seriously  considered,  we  find  practically  no  true 
dramatic  action. 

ILLUSTRATIONS 

74249     Nightingale's  Passion  Song     ("  Hippolyte  et  Aricie") 

(Rameau)  Alma  Gluck 

74155     Largo     (Handel)  Charles  Gilibert 

88189    Mid  Lures  and  Pleasures     ("Rinaldo")     (Handel) 

Mme.  Schumann-Heink 

HINTS  FOR  TEACHERS 

Do  not  be  discouraged  if  the  class  is  unable  to  remember  all  these 
names  from  one  lesson.  Be  sure  they  are  correctly  written  in  the 
note  books  as  we  shall  refer  to  them  very  often  in  future  lessons. 

QUESTIONS 

Which  of  these  selections  represents  poetic  thought?  Which  is 
imitative  music?  What  voice  sings  the  first?  The  second?  The 
third? 

CHORUSES 

Antioch  (Old  Hymn).     (Handel.) 
Captive  (Handel).     From  "Art  Songs." 


Lesson  VIII 

The  Oratorio  to  Handel 

The  early  oratorio  is  more  closely  related  to  the  Miracle  Plays 
than  is  the  opera,  yet  our  first  oratorio,  as  such,  grew  out  of  a  move- 
ment which  took  place  in  Rome  and  which  was  similar  to  that  of  the 
Florentine  Camerata.  St.  Philip  Neri.  a  pious  priest  of  the  Church 
of  St.  Maria  in  Vallicelli,  made  it  his  custom  to  invite  the  young 
people  of  the  church  to  come  one  evening  each  week,  to  his  private  ora- 

75 


vEUERIC     HANDEL 


The     History     of     Music 

tory,  and  there  they  enacted  scenes  from  the  Bible.  Finding  that  the 
interest  was  greatly  enhanced  by  music,  the  good  St.  Philip  persuaded 
some  of  his  friends,  who  were  followers  of  Palestrina,  in  the  Roman 
School,  to  help  him  b\  writing  musical  accompaniment  for  these  short 

Biblical  plays.  Thus  there  came  into  being, 
the  "Society  of  Oratorians  of  Rome"; 
their  first  complete  work  appearing  in  1600 ; 
this  was  called  "The  Life  After  Death,  an 
Oratorio."  This  work  was  composed  by 
Emilio  Cavalieri,  whose  pupil  Carissimi, 
carried  on  his  ideas,  which  fast  spread 
through  the  other  schools  of  Italy,  and  to 
France,  Germany  and  England. 

In  Germany  these  musical  settings  of 
sacred  subjects  were  always  used  as  a  part 
of  the  Church  service  and  were  known  as 
Church  Cantatas,  and  Passion  Music,  as 
well  as  by  their  Italian  name  of  oratorio. 
As  the  opera  developed  vocally  and  instrumentally,  so  in  its  turn  did 
the  oratorio,  until,  at  the  time  of  Handel,  it  ranked  with  the  opera 
as  the  greatest  vehicle  of  vocal  expression  in  music. 

Handel's  most  popular  work  in  this  form  is  "The  Messiah." 
although  in  musical  worth  "Samson,"  "Israel  in  Egypt"  and  "Judas 
Maccaboeus"  occupy  an  important  position. 

Handel  wrote  forty  operas  which  are  practically  obsolete  to-day. 
It  is  as  an  oratorio  composer  that  his  chief  fame  rests. 

ILLUSTRATIONS 
16980     Dead  March     ("Saul")     (Handel)  Pryor's  Band 

85103  He  Shall  Feed  His  Flock  ("The  Messiah  ")  (Handel)  Mme.  Homer 
74131  Sound  an  Alarm  ("  Judas  Maccabaeus ")  (Handel)  Evan  Williams 
31770     Hallelujah  Chorus     ("  The  Messiah ")     (Handel) 

Victor  Chorus  with  Sousa's  Band 

HINTS  FOR  TEACHERS 

Review  with  class  the  Miracle  and  Mystery  Plays.  Describe  an 
oratorio  in  detail;  "The  Messiah"  being  an  excellent  one  to  use  for 
illustration.  Point  out  to  the  class  that  many  of  the  choruses  with 
which  they  are  familiar  in  High  School  are  taken  from  oratorios,  and 
have  class  lenrn  to  which  oratorio  these  belong.  Tell  the  story  of 
"Jndas  Maccabreus. " 


76 


The     History     of    Music 

QUESTIONS 

Which  voice  sang  the  second  and  third  selections?  Which  prin- 
ciple of  music  do  these  selections  illustrate?  Is  the  orchestra  used  to 
depict  dramatic  meaning?  If  so,  how?  Which  represents  national 
feeling? 

CHORUSES 

See  the  Conquering  Hero  Comes — "Judas  Maccabaeus"  (Ilandei). 
Come  Unto  Him,  '"The  Messiah"  (Handel). 
Largo,  "Xerxes"  (Handel). 


L 


ess  on 


IX 


Johann  Sebastian  Bach 

In  the  middle  of  the  nineteenth  century,  Robert  Schumann 
declared  boldly :  "To  Johann  Sebastian  Bach  music  owes  as  great  a 
debt  as  does  a  religion  to  its  founder."  It 
1  is  true  that  our  history  of  music  actually 
begins  with  Bach,  whose  remarkable  devel- 
opment of  instrumental  forms,  is  the  foun- 
dation on  which  all  modern  music  really 
rests.  It  has  been  said  that  if  all  the  music 
since  Bach's  time  should  be  lost  to  th 
world,  it  could  be  recreated  from  the  Bach 
manuscripts. 

Johann  Sebastian  Bach  (1685-1750) 
is  a  direct  musical  descendant  of  the  old 
German  town  pipers,  and  all  his  music 
reflects  Protestant  Germany.  Bach's  en- 
tire life  was  spent  in  his  native  land,  which, 
doubtless,    accounts   for   the    fact   that   his 

only  choral  writings  were  in  the  forms  used  lor  the  Church  service. 
He  laid  the  foundation  for  our  modern  pianoforte  technic  with  his 
remarkable  work.  "The  Well  Tempered  Clavichord."  Bach's  violin 
studies  comprise  about  one-third  of  the  modern  violinists'  repertoire; 
while  his  organ  compositions  are  justly  regarded  as  being  the  funda- 
mental foundation  on  which  modern  organ  playing  is  built.     (Although 


JOHANN      SEBASTIAN      BACH 


77 


The     History     of    Music 


BACH  S     BIRTHPLACE      IN      EISENACH 


Handel  was  in  some  re- 
spects a  greater  virtuoso 
on  the  organ  than  Bach, 
he  left  very  few  written 
compositions  for  the  in- 
strument. ) 

Bach  was  the  cul- 
mination of  all  the 
greatness  of  the  contra- 
puntal school,  combined 
with  the  deep  poetic  in- 
sight into  the  true  ideal- 
ity of  music.  For  this 
reason  his  works  may  be 

regarded  as  the  embodiment  of  the  science  of  music,  yet  they  will 

always  make  a  direct  appeal  to  the  human  heart. 

ILLUSTRATIONS 

81015  Ave  Maria     (Bach-Gounod)  Mme.  Gadski 

64132  Gavotte  in  E  major,  for  Violin     (Bach)  Fritz  Kreisler 

17184  Bourree    (Suite  III,  for  Violoncello)    (Bach)  Victor  Quintette 

70047  Air  for  G  String     (Bach)  Victor  Herbert's  Orchestra 

HINTS  FOR  TEACHERS 
Recall  to  your  class 
the  fact  that  while  Italy, 
France,  Germany  and 
England  had  well-estab- 
lished schools  of  music 
during  the  seventeenth 
century,  in  America  our 
settlements  in  Virginia, 
New  York,  Massachu- 
setts and  Pennsylvania 
were  only  just  beginning. 
Although  distracted  by 
many  wars  with  the  In- 
dians, and  dissensions 
with  the  mother  countries 
of  Europe,  our  colonists 
still  contributed  to  the 
advancement    of    culture       st.  john's  church,  leipsic,  where  bach  is  buried 


78 


The     History     of    M  u  s  i  c 

by  the  establishment  of  many  schools  and  colleges.  Of  these,  Harvard 
(1638),  William  and  Mary,  in  Virginia  (1692),  and  Yale  (1700),  are 
the  most  important. 
The  forms 
used  at  Bach's  day 
are  fully  described 
in  Lesson  XXV, 
Course  III.  If 
possible  these 
forms  should  be 
considered  at  this 
time.  It  will  be 
well  to  have  pupils 
prepare  short  pa- 
pers on  "A  Com- 
parative Study  of 
Bach  and  Han- 
del," who  were  born  the  same  year.  Let  this  be  done  from  a  personal 
side,  as  well  as  from  a  study  of  their  compositions,  as  it  will  in  that 
way  make  a  stronger  personal  appeal  to  each  individual  student. 

QUESTIONS 

What  principle  does  the  first  selection  express?  In  what  form  is 
the  second?  Does  the  fourth  express  one  of  music's  fundamental 
principles?    If  so,  what?     Where  did  you  hear  this  selection  before? 

CHORUSES 

Unto  Thee  Will  I  Sing  (Bach). 
Song  of  the  Pilgrim  (Bach). 
Help  Us,  Lord  (Bach). 


MORNING    PRAYERS    IN    HOUSE    OF    BACH 


L 


esson 


X 


Gluck 

Christopher    Willibald    Gluck    (1714-1787)    was    the    first    great 
German  composer  to  interest  himself  in  the  development  of  opera. 


79 


The     History     of    Music 

although  all  his  efforts  in  this  direction  took  place  in  Paris,  so  that  his 
name  is  now  associated  with  the  rise  of  the  French  Opera. 

At  the  time  of  Gluck  the  form  known  as  "Oratorio  Opera"  held 
sway  throughout  Italy,  Germany  and  England — the  French  School 
being  less  influenced  by  its  preposterous  absurdities  than  any  of  the 
others.  In  France  a  definite  interest  in  the  drama  is  more  apparent 
at  this  time  than  in  any  other  country,  and  this  is  largely  responsible 
for  the  fact  that  it  was  here  that  the  efforts  of  Gluck  were  made. 

Gluck  in  his  preface  to  his  opera 
"Alceste, "  declares  that  "Simplicity 
and  Truth  are  the  sole  principles  of  the 
beautiful  in  Art."  Feeling  that  truth 
was  handicapped  by  the  artificial  super- 
ficialities of  the  day,  Gluck  declared 
boldly  against  the  then  existing  form  of 
opera,  and  laid  down  the  principles  on 
which  the  moderu  music  drama  has  since 
been  built.  He  demanded  a  libretto 
which  should  not  only  be  good  poetry, 
but  good  drama  as  well,  and  he  wrote 
music  to  conform  to  the  plot  and  in  the 
strictest  sense  to  interpret  the  situations. 
The  overture  became  in  reality  the  true  prelude  or  preparation  for  the 
action  that  was  to  follow ;  the  old  rules  regarding  arias  were  laid  aside, 
so  that  when  the  dramatic  situation  should  call  for  a  certain  actor, 
that  person  should  appear  and  sing  his  aria,  without  regard  for  the 
display  of  his  powers  of  vocalization,  but  with  simple  dramatic 
effect. 

Gluck 's  ideas  caused  a  small  musical  revolution  in  France;  part 
of  the  Court  sustaining  the  Italian  form,  which  was  ably  championed 
by  Piccini,  the  other  declaring  for  Gluck,  the  reformer  of  French 
opera,  Although  Gluck  founded  no  school,  his  influence  is  felt  in 
the  works  of  Mozart,  Beethoven  and  von  Weber,  but  it  is  not  until  the 
time  of  Richard  Wagner  that  Gluck 's  true  greatness  stands  revealed. 
Gluck  wrote  thirty  operas,  of  which  "Alceste,"  "Orfeo,"  "Ar- 
mide, "  "Iphigenie  en  Tauride,"  "Iphigenie  en  Aulide"  are  the 
greatest  and  best  known.  These  works  are  still  given,  both  on  account 
of  their  historical  interest,  as  well  as  their  true  dramatic  and  musical 
worth. 


CHRISTOPHER     WILLIBALD     GLUCK 


80 


The     History     of     Music 

ILLUSTRATIONS 

88286  Fatal  Divinita—"  Alceste  "     (Gluck)  Mme.  Homer 

64075  Melodie,  Op.  26     (Gluck)  Maud  Powell 

16950  Gavotte     ("  Paris  and  Helen")     (Gluck)  Victor  String  Quartet 

17184  Ballet     ("  Iphigenia  in  Aulis  ")     (Gluck)  Victor  Orchestra 

HINTS  FOR  STUDY 

Review  briefly  the  beginnings  of  opera  and  the  form  of  Handel. 
Chronologically  Gluck  follows  Handel,  though  he  was  fully  half  a  cen- 
tury in  advance  of  his  time.  The  difference  between  the  Courts  of 
Vienna  and  Paris  should  be  spoken  of,  the  purely  Italian  influence 
of  the  late  Renaissance  that  had  crept  into  Vienna  and  the  national 
spirit  which  was  awakening  in  Paris.  The  greatest  literary  men  of 
Paris  in  the  late  seventeenth  century — Moliere,  Racine,  Corneille, 
etc.,  should  be  recalled,  in  relation  to  the  return  of  interest  in  the 
classical  drama  which  still  existed  at  this  time.  Note  the  use  of  the 
Ballet,  a  favorite  form  in  French  Opera. 

QUESTIONS 

What  voice  sings  the  air  from  "Alceste"?  "What  instrument 
plays  the  second  selection  ?  From  what  opera  is  this  adapted  ?  What 
example  of  form  is  used  in  the  third?  Compare  with  the  Bach 
Gavotte. 

CHORUSES 

Lift  Up  Your  Heads,  0  Ye  Gates  (Gluck). 

The  Broken  Ring  (Gluck). 

See  What  Grace  ("Iphigenia  in  Aulis")  Gluck. 


Lesson  XI 

Haydn 

Franz  Josef  Haydn  (1732-1809)  is  called  the  "Father  of  the 
Sonata."  He  may  also  be  rightly  called  the  father  of  the  string  quar- 
tet and  the  symphony  orchestra,  for  it  was  he  who  established  the 
string  quartet,  and  who  divided  the  symphony  orchestra  into  the  four 
divisions  which  we  have  to-day;  namely:  strings,  wood-wind,  brasses 

81 


i  h  e     History     of     AI  it  s  i  c 

and  percussion  instruments.  Haydn  estab- 
lished the  definite  form  known  as  the 
"Sonata  Form,"  upon  which  all  the  first 
movements  of  sonatas,  duets,  trios,  quar- 
tets, etc.,  concertos  ;md  symphonies  since 
his  day  have  been  built.  Most  of  his  life 
was  spent  in  Vienna,  hut  in  his  later  years, 
while  in  England,  he  became  enthusiastic 
over  Handel's  work,  and  on  his  return 
wrote  several  oratorios,  of  which  "The 
Creation,"  17!)8,  and  "The  Seasons," 
1801,  are  the  most  famous. 

Haydn's  style  was  clear  and  bright, 
sincere  in  spirit  and  genial  in  melody,  a 
style  which  reflects  the  content  and  happiness  of  the  German  folk 
music.    Haydn  was  the  teacher  of  both  Mozart  and  Beethoven. 


FRANZ    JOSEF    HAYDN 


ILLUSTRATIONS 

16083     Austrian  National  Hymn      (Haydn) 

88289     My  Mother  Bids  Me  Bind  My  Hair     (Haydn) 

64135     Minuet     (From  Symphony)     (Haydn) 


Pryor's  Band 

Geraldine  Farrar 

Mischa  Elman 


HINTS  FOR  TEACHERS 
In  taking  up  the  work  of  Haydn  in  detail,  the  forms  he  estab- 
lished and  his  arrangement  of  the  instruments  of  the  orchestra  will 
be  found  in  Lesson  XXVI,  Course  III.  The  class  should  be  assigned 
a  lesson  on  Mozart's  life  for  the  following  week,  and  it  will  be  well 
to  announce  that  a  paper  will  be  required  on  "A  Comparative  Study 
of  Haydn  and  Mozart."  Recall  that  Haydn  and  George  Washington 
were  born  the  same  year,  1732.  Therefore,  the  class  should  not  forget 
that  although  Germany  at  this  time  fixes  the  forms  for  future  develop- 
ment in  music.  America  was  doing  a  far  more  important  act  for  the 
world  by  establishing  the  form  for  future  government. 

QUESTIONS 

Which  illustration  depicts  nationality?  In  what  form  is  the  third? 
Does  it  reflect  folk  music  ?  Does  the  second  reflect  folk  spirit  or  is  it 
in  operatic  style? 

CHORUSES 

Austrian  Hymn  (Haydn). 

0  Worship  the  King  (Haydn). 


82 


The     History     of     M  u  s  i  c 
Lesson  XII 

Mozart 

Wolfgang  Amadeus  Mozart  (1756-1791)  is  one  of  the  most  human 
and  lovable  of  the  great  composers.  The  period  in  which  he  lived  is 
one  of  romantic  interest,  and  his  early  life  as  a  musical  prodigy, 
before  the  principal  Courts  of  Europe,  always  makes  a  distinct 
appeal.  Mozart  was  one  of  the  greatest  prodigies  the  world  has  ever 
known.  His  early  experiences  at  Court*  gave  his  music  a  delicacy 
and  refinement  which  is  not  found  in  the  works  of  his  German  prede- 
cessors. He  wrote  in  all  forms  and  for  all  instruments,  as  well  as 
oratorios  and  operas.  He  left  forty-nine  Symphonies,  of  which  the 
three  written  in  the  summer  of  1788  (E  flat,  G  minor  and  C  major) 
are  the  most  famous.  His  greatest  operas  are  "Marriage  of  Figaro," 
"Don  Giovanni  "and  the  "Magic  Flute."  Mozart  was  gifted  with  a 
marvelous  spontaneous  melody,  so  that  even  in  his  strictest  contra- 
puntal works,  his  music  has  a  simplicity  and  naive  grace  which  charms 
all  hearers. 

ILLUSTRATIONS 

88300     Voi  che  sapete     (From  "  Marriage  of  Figaro  ")  Mme.  Tetrazzini 

88196     Aria     (From  "  Titus ")     (Mozart)  Mme.  Schumann-Heink 

17087     Minuet     (From  "  Don  Giovanni ")     (Mozart)  Victor  Band 

HINTS  FOR  TEACHERS 

A  comparative  historical  table  of  the  rulers  of  the  eighteenth  cen- 
tury may  be  of  interest  in  the  study  of  this  period. 

France : 

Louis  XV,   1715-74.     Seven  Years'  War,  175G-63. 

Louis  XVI,   1774-92. 

Revolution,  1789-95. 

Napoleon,  1795. 

Napoleon  made  Emperor,   1804. 
Austria: 

Maria  Teresa,  1740-80. 
Germany: 

Frederick  the  Great  of  Prussia,   1740-SG. 
Russia: 

Catharine  II,  1762-96. 

*  Point  out  the  lavish  Court  life  at  the   time  of   Mozart  and   show   how   this  affects   Mozart's 
compositions  with  a  refinement  which  is  lacking  in  those  of  Haydn. 

83 


The     History     of     M  u  s  i  c 


1  ! :>*  !Lji 


«"^r*  !!   "    ?[ 


STATUE    OF    THE    YOUNG     MOZART 


HOUSE      IN       SALZBURG      WHERE       MOZART 
WAS    BORN 


I     MOZART    WAS    BORN 


M 


The     History     of     Music 

England : 

George  III,  1760-1820. 

American  Revolution  and  the  founding  of  the  Republic. 

QUESTIONS 

Which  of  these  numbers  is  for  voice?  What  voice  sings  the  first? 
The  second?  Is  this  an  aria  from  opera  or  oratorio?  What  prin- 
ciple is  represented  by  the  third?  How  does  this  differ  from  the 
Minuet  of  Haydn's  heard  last  week? 

CHORUSES 

The  Blacksmith  (Mozart). 

Father,  Hear  the  Prayer  We  Offer — Go  Forsake  Me   (Mozart). 

The  Minuet  (Mozart). 


Lesson  XIII 

Beethoven 


Ludwig  van  Beethoven  (1770-1827)  is  the  greatest  personality 
in  the  history  of  music.  His  works  mark  the  culmination  of  the 
Classical  School  of  music  and  open  the  doors  to  the  Romantic  School. 
It  is  difficult  to  study  Beethoven,  for  his  genius  is  so  colossal,  his  sub- 
limity so  overwhelming,  that  it  compels  our  awe  and  reverence,  as 
well  as  our  admiration.  Every  page  of  Beethoven's  music  is  a  page 
of  his  own  personal  heart  history,  and  to  comprehend  this  music  one 
must  study  his  biography  and  learn  to  know  the  trials,  the  hardships, 
the  battles  and  the  triumphs  of  this  ' '  Michaelangelo  of  Music. ' ' 

Beethoven  wrote  in  all  forms ;  his  greatest  works  are : 
Symphonies Nine  for  full  orchestra. 

Concertos I  iFive  for  Pian0- 

|  One  for  violin. 

Oratorios I  Mount  of  Olives. 

|  Mass  in  D. 

Opera "Fidelio." 


Overtures. 


Leonore,  No.  2. 
Leonore,  No.  3. 
Egmont. 
Coriolanus. 


85 


The     History     of    Music 

IRasoumowsky. 
E  flat. 
D-C. 

For  Piano 

Pathetiquc. 
Waldstein,  Op.  21. 

Sonatas •>  Appassionata,  Op.  23. 

Moonlight. 

Kreutzer  for  violin  and  piano. 

Beethoven's  compositions  may  be  divided  into  three  periods: 

1792-1803.— Influence  of  Haydn  and  Mozart,  Op.  1  to  Op. 
50 — include  First  and  Second  Symphonies,  first  three  Piano  Con- 
certos, many  Sonatas  and  shorter  compositions. 

1803-1815. — Rise  of  Beethoven's  individuality.  The  affliction 
of  deafness  increases.  Greatest  works  of  this  period  are  opera 
"Fidelio,"  Symphonies  "Eroica,  No.  3;"  No.  4;  "Fate,"  or  No. 
5;  "Pastoral,"  No.  6;  Symphony  in  A,  No.  7;  Symphony  in 
F-major,  No.  8. 

1815-1827. — Culmination.  Beethoven  now  totally  deaf. 
Mass  in  D.  Symphony  No.  9  with  Choral  setting  of  Schiller's 
"Ode  to  Joy." 

Beethoven's  works  are  still  rightly  regarded  as  the  greatest 
models  of  instrumental  form.  New  orchestral  effects,  new  methods 
of  portraying  dramatic  ideas,  some  changes  in  form,  it  is  true,  have 
come  into  music  since  his  time,  but  nothing  which  has  not  been  sug- 
gested in  Beethoven's  music.  As  Mendelssohn  once  said,  "When 
Beethoven  points  the  way  who  shall  dare  say  'thus  far  and  no 
farther?'  " 

ILLUSTRATIONS 
35245     Chorus  of  Prisoners  ("  Fidelio")    (Beethoven)      Victor  Male  Chorus 
74307     Adelaide     (Beethoven)  Evan  Williams 

ie?AafPart      II 

0         iPart    II  Leonora  Overture  No.  3     (Beethoven)  Victor  Orchestra 

35269   Part  III  I 

HINTS  FOR  TEACHERS 

For  the  study  of  Beethoven's  orchestral  works  see  Lesson  XXVII, 
Course  III.  Do  not  feel  discouraged  that  it  is  impossible  to  give  all 
of  Beethoven's  true  greatness  to  your  class  in  one  lesson,  but  do  try 
to  make  the  student  feel  the  dominating  personality,  and  the  sad 
tragedy  of  Beethoven's  life.  Avoid  silly  anecdotes  regarding  the 
petty  trivialities  of  his  life;  the  stories  of  Beethoven's  peculiarities 

86 


The     History     of     Music 


The     History     of     Music 

may  be  of  amusing  interest  to  your  pupils,  but  are  unworthy  of 
consideration.  Do  not  allow  an  over-sentimental  attitude  regarding 
Beethoven,  as  expressed  by  some  of  his  biographers,  to  influence  you 
on  the  other  side.  Beethoven's  tragic  life  history  should  be  familiar 
to  your  students,  but  they  should  also  realize  that  he  lived  in  a  remark- 
able historical  epoch.  Recall  the  great  political  events  of  the  Napo- 
leon campaigns,  the  Revolutionary  tendency  which  was  fast  becoming 
a  marked  influence  in  literature,  art  and  music.  A  strong  point  should 
be  made  of  Beethoven's  republicanism,  his  love  of  Nature,  his  rever- 
ence for  God ;  the  friendship  of  Beethoven  and  Goethe  should  be 
pointed  out,  and  the  inspiration  to  Beethoven  of  Schiller  and  Goethe 
should  be  remarked. 

In  America  the  "War  of  1812  took  place. 

QUESTIONS 

In  what  language  is  the  second  selection?  What  voice  sings  it? 
Is  it  purely  German  or  does  it  show  Italian  operatic  influences?  Is 
the  third  selection  program  music  ?  How  ?  For  what  opera  is  this  the 
overture  ?    What  composition  reflects  poetic  thought  ? 

CHORUSES 

My  Faithful  Johnny  (Scotch)   (Beethoven). 

Come,  0  Creator  (Beethoven). 

The  Skies  Resound  (Beethoven). 

The  Larghetto  (Beethoven).     (Arr.  Henry  Stillman  Kelly.) 


Lesson  XIV 

Schubert  and  the  German  Lieder 

Franz  Peter  Schubert  (1797-1828)  was  the  one  native  composer 
of  Vienna.  He  lived  at  the  same  period  as  Beethoven,  though  he 
knew  the  latter  but  slightly.  Schubert  is  the  most  pathetic,  and  at 
the  same  time  unusual  figure  in  musical  history.  Possessed  of  a 
spontaneous  gift  of  melody,  which  has  never  been  equaled,  Schubert 
wrote  his  great  compositions,  as  though  directed  by  an  invisible  force. 
and  the  greatest  of  his  works  he  never  heard  produced.     On  the 

88 


The     History     of    Music 


FRANZ     I'ETER    SCHUBERT 


stone  which  marks  Schubert's  last  resting  place  there  is  inscribed: 
' '  Music  hath  buried  here  a  rich  treasure,  but  still  richer  hopes. "    How 
great  these  hopes   were,   was  not  realized   until    1840,   when   Robert 
Schumann    discovered    in    Ferdinand    Schu- 
bert's  home   an   old   pile   of  manuscripts   of 
Franz  Schubert  which,  at  the  time  of  the  com- 
poser's death,  had  been  valued  at  less  than 
fifty  dollars.     Among  these  papers  Schumann 
found  all  the  compositions  which  are  consid- 
ered Schubert's  greatest  works,  including  the 
"Unfinished   Symphony,"   the   Symphony   in 
C  Major,  No.  10,  and  many  others. 

Schubert  wrote  in  all  forms  of  music, 
leaving  about  650  songs,  part  songs,  masses. 
18  dramatic  works,  21  piano  sonatas,  many 
overtures,  20  string  quartets  and  10  sym- 
phonies, besides  a  vast  quantity  of  smaller  compositions  for  piano  and 
other  instruments. 

Schubert's  short  piano  compositions  are  full  of  melodic  and  har- 
monic charm,  and  in  poetic  content  point  the  way  towards  the  Roman- 
ticism of  Mendelssohn  and  Schumann.  Aside  from  the  many  beau- 
tiful instrumental  compositions  which  Schubert  gave  the  world,  his 
chief  contributions  to  musical  literature,  were  his  marvelous  songs, 
which  occupy  a  unique  place  in  the  development  of  music.  During 
the  eighteenth  century  the  old  folk  song  had  been  completely  domi- 
nated, by  the  Italian  methods  of  singing,  although  we  have  occasional 
glimpses  of  true  German  feeling,  in  some  of  the  songs  of  Haydn, 
Mozart  and  Beethoven.  Schubert,  however,  brought  the  German  song 
to  a  state  of  perfection,  which  has  never  been  advanced  since  his  day. 
He  stands  in  the  same  relation  to  the  German  lied,  that  Beethoven 
occupies  toward  the  symphony.  In  Schubert's  songs  the  melody 
always  fits  the  poetic  thought  of  the  words,  and  although  predominant, 
it  is  greatly  augmented  by  the  accompaniment,  which  seems  to  form, 
as  it  were,  an  atmospheric  setting  for  the  words.  The  Schubert 
Lieder  may  be  designated  in  three  general  classes,  and  we  will  find 
by  so  doing  that  our  fundamental  principles  of  music  are  thereby 
expressed : 

1.  Folk  Manner  Songs — a  song  in  which  the  same  tune  is 
repeated  for  each  verse. 


89 


The     History     of     M  u  s  i  c 


SCHUBERT  S     BIRTHPLACE,     VIENNA 


HOUSE     WHERE     SCHUBERT     DIED,     VIENNA 


SCHUBERT  S      GRAVE      IN      VIENNA 


90 


The     History     of     Music 

2.  Art  Songs  in  which  the  melody  reflects  the  words  and  senti- 
ments expressed. 

3.  Art  Ballad,  or  song  which  narrates  a  definite  story. 
No.  1  therefore  reflects  the  folk  song  in  form  and  content. 
No.  2  expresses  poetic  thought  in  form. 

No.  3  program  music. 

There  were  a  number  of  great  composers  who  developed  Schu- 
bert's form  of  the  Art  Ballad.  The  most  important  of  these  was  Carl 
Loewe  (1796-1869),  whose  ballads  were  always  distinctly  dramatic. 
Loewe  elaborated  his  accompaniment  so  that  it  always  was  of  great 
importance  in  the  musical  characterization. 

ILLUSTRATIONS 

88013     Who  is  Sylvia?  (Words  by  Shakespeare)  (Schubert)     Mme.  Eames 

64093     Serenade     (Schubert)  Evan  Williams 

88342     Erl  King     (Schubert)  Mme.  Schumann-Heink 

/•o,2Q(  The  Wanderer     (Schubert)  Arthur  Van  Eweyck 

wsyr-y  The  Watch     (Loewe)  Arthur  Van  Eweyck 

HINTS  FOR  TEACHERS 

Be  sure  to  make  the  class  feel  that  Schubert  has  always  in  his 
songs  kept  a  direct  relationship  between  the  words  and  music.  His 
choice  of  poets  should  be  remarked :  Shakespeare,  Klopstock,  Schiller, 
Goethe,  Miiller,  Matthieson.  Many  interesting  anecdotes  of  Schubert 
will  aid  the  students  in  remembering  his  unique  gift  of  spontaneity. 
Recall  the  anecdote  to  be  found  in  all  biographies  of  Schubert,  which 
tells  of  his  spontaneous  composition  of  "Hark,  Hark,  the  Lark"  and 
"Who  is  Sylvia?"  Students  should  look  up  the  great  musicians  liv- 
ing in  Vienna  at  this  time,  who  were  contemporaries  of  Beethoven 
and  Schubert. 

QUESTIONS 

What  voice  do  you  hear  first?  Second?  Third?  Last?  Which 
is  dramatic?  Does  the  accompaniment  aid  in  dramatic  expression? 
How  many  characters  are  depicted  in  the  third  ?  Which  is  imitative  ? 
What  character  of  song  is  each? 

CHORUSES 
The  Wild  Rose  (Schubert). 
Cradle  Song  (Schubert). 
The  Wanderer  (Schubert). 


The     History     of     M  u  s  i  c 


CARL     MARIA     VON  WEBER 


Lesson  XV 

Romanticism  in  Germany 

The  middle  of  the  nineteenth  century  is  known  as  the  Romantic 
Period  of  musical  history.  It  was  but  natural  that  the  feeling  for 
romance  so  prevalent  throughout  Europe,  and  manifested  in  the 
other  arts,  should  make  a  marked  impres- 
sion on  music.  As  the  nature  of  music  is 
but  an  expression  of  individuality,  it  was 
impossible  for  musical  art  to  be  restricted 
to  the  classical  forms  of  the  past.  Yet  from 
the  beginning  of  the  development  of  mod- 
ern music  we  have  noted  a  marked  tend- 
ency toward  free  expression,  and  much  of 
the  music  of  the  so-called  Classical  School 
was  decidedly  romantic  in  spirit.  How- 
ever, we  find  from  1830  to  1863  all  com- 
posers are  moved  by  this  spirit,  which  thus 
gives  a  peculiar  quality  to  the  whole 
epoch. 

In  music,  as  in  art  and  literature,  the  terms  Classical  and  Roman- 
tic mean  little  except  in  relation  to  each  other.  The  aim  of  the 
classical  master  was  to  reflect  ideal  beauty  in  a  form  which  should  be 
impersonal  in  character;  therefore,  the  masters  of  the  Classical 
School  adapted  all  their  thought  and  expression  to  a  definite  mould  or 
form.  The  ideals  of  romantic  art  served  to  present  individual 
thoughts,  moods  or  dreams,  which  the  composer  could  transfer  to  his 
audience,  either  by  the  medium  of  the  old  classical  forms,  which  he 
adapted  unhesitatingly  to  suit  his  needs,  or  by  the  creation  of  entirely 
new  forms,  more  or  less  similar  to  those  used  in  the  past.  The  funda- 
mental principle  of  Romanticism  is  individuality,  which  takes  these 
forms  for  its  expression :  virtuosity,  program  music,  nationality. 

In  Germany  the  change  from  the  Classical  School  to  the  Romantic 
is  less  pronounced  than  in  France,  where  individuality  is  for  the  first 
time  given  a  free  rein  in  every  branch  of  the  art.  Taking  Beethoven 
as  the  connecting  link  between  the  Classical  and  Romantic  Schools, 
we  find  his  contemporaries,  Schubert  and  von  Weber,  both  showing 
a  marked  tendency  toward  romantic  expression ;  Schubert  in  all  his 
compositions  reflects  this  feeling  and  by  the  creation  of  the  German 
Lieder  opens  up  a  new  pathway  to  the  romantic  composer. 


92 


The     History     of     Music 


FELIX      MENDELSSOHN-BARTHOLDY 


Carl  Maria  von  Weber  (1786-1826)  gave  to  the  German  people 
the  first  national  opera,  for  with  "Der  Freischiitz, "  produced  in 
1821,  Germany  heard  for  the  first  time  a 
great  operatic  work,  based  on  a  German  folk 
tale,  told  in  German  folk  music,  and  sung 
by  German  singers  in  the  German  language. 
The  two  greatest  masters  of  the  German 
Romantic  School  were  Felix  Mendelssohn- 
Bartholdy  and  Robert  Schumann.  Both 
were  men  of  wealth  and  education,  and  by 
virtue  of  their  intellectual  achievements, 
were  well  fitted  to  carry  on  the  work  of  the 
Romantic  School. 

Mendelssohn  (1809-1847)  is  one  of  the 
most  lovable  personalities  in  musical  his- 
tory. Possessed  of  a  strong  melodic  gift,  Mendelssohn  was  from 
his  earliest  childhood,  surrounded  by  the  best  of  musical  training, 
and  his  work,  although  anticipating  the  romantic  feeling,  still 
reflects  the  technical  science  of  his  predecessors.  Mendelssohn 
wrote  in  all  forms,  save  that  of  the  opera.  His  largest  works 
were  the  oratorios  "St.  Paul"  (1836),  "Hymn  of  Praise"  (1840), 
and  "Elijah"  (1846).  His  symphonies  while  following  the  classical 
models,  are  program  music  in  that  they  are  given  definite  titles,  such 
as,  "The  Reformation,"  "Scotch,"  "Italian."  The  two  latter  works 
also  make  use  of  national  characteristics,  although  one  feels  through- 
out that  they  were  created  by  a  German  mind. 

Schumann  and  Mendelssohn  both  made 
use  of  the  overture  form  as  a  vehicle  for 
the  expression  of  program  music.  They 
called  their  works  in  this  form  "Concert 
Overtures,"  and  many  of  Mendelssohn's 
greatest  works,  including  "The  Fair  Melu- 
sina,"  "The  Hebrides,"  "Calm  Sea  and 
Prosperous  Voyage,"  etc.,  were  in  this  form. 
In  his  piano  compositions  Mendels- 
sohn used  the  song  form  and  the  poetic 
thoughts  he  here  expressed  were  designated 
as  ' '  Songs  Without  Words. "  He  also  gave 
us  two  concertos  for  piano  with  orchestra. 


ROBERT    SCHUMANN 


93 


The     History     of     Music 

and  the  famous  concerto  for  violin  and  orchestra,  many  chamber 
compositions,  and  works  for  the  organ.  Mendelssohn's  chief  popularity 
rests  on  the  incidental  music  which  he  composed  for  Shakespeare 's  "  A 
Midsummer  Night's  Dream."  This  composition,  which  he  began  when 
but  a  boy,  reflects  the  grace,  the  elegance  and  the  melodic  charm  of  his 
genius,  coupled  with  his  mastery  of  the  technique  of  composition. 

Robert  Schumann  (1810-1856)  was  a  far  more  original  genius 
than  Mendelssohn,  but  as  his  early  education  was  pursued  with  the 
intention  of  his  becoming  a  lawyer,  Schumann  did  not  have  the  advan- 
tage of  a  technical  musical  education.  Yet  his  romantic  imagination, 
poetic  insight  and  independence,  make  his  compositions  of  extreme 
importance  to  the  Romantic  Period.  Schumann  wrote  in  all  forms, 
even  making  some  futile  attempts  at  dramatic  composition.  There 
have  remained  of  these  efforts  several  excellent  overtures  to  "Geno- 
veva, "  "Faust"  and  "Manfred,"  which  serve  to  show  Schumann  at 
his  best.  His  four  symphonies  are  full  of  melodic  and  harmonic 
charm,  although  the  technicalities  of  form  are  frequently  frankly 
ignored.  He  left  many  compositions  in  the  form  of  chamber  music, 
as  wrell  as  a  number  of  choral  works,  but  it  is  as  a  composer  of  songs 
and  short  piano  works  that  Schumann  deserves  first  rank.  All  of  his 
piano  compositions,  including  his  famous  concertos,  were  written  for 
the  talented  young  pianiste,  Clara  "Wieck,  who  afterward  became 
Madame  Clara  Schumann,  the  devoted  wife  of  the  composer.  Schu- 
mann was  chiefly  responsible  for  the  finding  of  the  greatest  Bach 
manuscripts,  which  had  been  unknown  since  Bach's  day,  and  it  was 
Schumann,  also,  who  gave  to  the  world  the  greatest  of  Schubert's 
works.  As  the  editor  of  "The  New  Journal  of  Music,"  the  most 
famous  musical  paper  of  history,  Schumann  introduced  to  the  world 
the  greatest  works  of  Bach,  Schubert,  Mendelssohn,  Berlioz,  Chopin. 
Liszt,  Wagner  and  Brahms. 

Other  great  German  composers  of  this  period  were : 

Ludwig  Spohr  (1784-1859)  ; 

Heinrich  Marschner  (1795-1861)  ; 

Ferdinand  Heller  (1811-1885)  ; 

Robert  Volkman  (1815-1883)  ; 

Carl  Reinecke  (1824-1911)  ; 

Adolph  Jensen  (1837-1879)  ; 

Franz  Lachner  (1804-1890)  ; 

Joachim  Raff  (1822-1882). 

'.•4 


The     History     of     Music 

ILLUSTRATIONS 

31819     Overture— Midsummer  Night's  Dream     (Mendelssohn) 

Victor  Concert  Orchestra 

742«K /(!)  Spring  Song     (Mendelssohn)  Vladimir  de  Pachmann 

\(2)  Vogel  als  Prophet     (Schumann)  Vladimir  de  Pachmann 

64217     Return  of  Spring     (Schumann)  Evan  Williams 

31740     Song — The  Two  Grenadiers     (Schumann)  Reginald  Werrenrath 

HINTS  FOR  TEACHERS 

These  illustrations  are  chosen  to  show  the  greatest  examples  of 
the  forms  of  Romantic  composers.  Describe  these  compositions  care- 
fully before  playing  them. 

QUESTIONS 

Which  compositions  are  program  music  ?  Which  depicts  poetic 
thought?  Which  composition  reflects  national  spirit?  What  voice 
sings  the  third?  The  fourth?  Does  the  accompaniment  aid  in  pre- 
senting the  picture  here? 

CHORUSES 

My  Jesus,  As  Thou  Wilt  (von  Weber). 

Boat  Song  (von  Weber). 

Farewell  to  the  Forest  (Mendelssohn). 

Over  Hill,  Over  Dale  (Mendelssohn). 

Wake,  0  Sweet  Rose  (Schumann). 

Highland  Cradle  Song  (Schumann). 

The  Winter  Hath  Not  a  Blossom  (Reinecke). 


Lesson  XVI 

Romanticism  in  France 

The  French  Romantic  School  carried  all  the  points  of  Romanti- 
cism to  a  much  greater  extreme  than  did  the  Germans,  and  as  the 
Court  of  Louis  Phillippe  attracted  all  the  literary  and  artistic  genius 
of  the  day,  so,  too,  musicians  from  other  lands  settled  here  and 
became  identified  with  what  we  know  as  the  French  Romantic  School. 
Francois  Chopin,  of  Poland;  Franz  Liszt,  of  Hungary;  and  Niccola 
Paganini,  of  Italy,  in  the  instrumental  school;  Cherubini,  Spontini, 
Bellini  and  Donizetti,  Italians,  and  Meyerbeer,  a  German,  in  the  opera 
school. 

95 


The     History     of     Music 


HECTOR     BERLIOZ 


The  greatest  French  master  of  this 
period  was  Hector  Berlioz,  who,  as 
Schumann  once  said,  "is  the  most  un- 
compromising champion  of  program 
music."  For  over  a  century  the 
French  School  had  been  identified  ex- 
clusively with  the  form  of  the  opera, 
and  we  find  practically  no  development 
of  instrumental  music  in  France  until 
the  advent  of  Hector  Berlioz  (1803- 
1869),  whose  peculiar  personality  is  the 
most  unique  to  be  found  in  all  musical 
history. 

Berlioz  was  possessed  of  an  exhaustive  knowledge  of  the  tech- 
nical possibilities  of  the  instruments  of  the  orchestra,  and  his  tone 
coloring  and  orchestral  combination  were  always  extreme.  He  de- 
parted from  all  regular  forms  in  the  writing  of  his  works,  but  gives 
us  always  a  picture  in  tone,  painted  with  such  amazing  coloring  that 
he  stands  unique  among  a  school  of  musicians,  known  for  their  eccen- 
tric individual  expression.  Berlioz  made  use  of  a  characteristic 
phrase  or  motive  which  he  called  "the  fixed  idea,"  and  all  his  com- 
positions are  worked  out  on  this  plan ;  all  have  definite  titles  and  tell 
their  own  individual  stories.  Berlioz  wrote  in  all  forms,  but  his  most 
successful  works  were  for  orchestra,  in  the  form  of  the  "dramatic" 
symphony;  of  these,  "Harold  in 
Italy,"  "Romeo  and  Juliet"  and 
"Episode  in  the  Life  of  an  Artist," 
are  the  best  known.  His  most  popu- 
lar work  is  the  dramatic  cantata 
"Damnation  of  Faust,"  although  the 
"Requiem  Mass"  and  several  operas, 
among  them  "Benvenuto  Cellini" 
and  "Les  Troyens,"  are  still  often 
given  successfully  in  Europe. 

Frederic  Francois  Chopin  (1810- 
1849)  is  classed  with  the  French 
School,  although  in  most  of  his  music 
Chopin  boldly  proclaims  his  love  for 
his  native  Poland.     It  was  Schumann 

FREDERIC     FRANCOIS     CHOPIN 


96 


The     History     of     Music 

who  introduced  Chopin  to  the  world  with  the  words:  "Hats  off,  gen- 
tlemen; a  genius."  There  has  never  been  a  greater  charm  exerted 
over  the  music  of  the  world  than  that  of  Chopin,  though  he  wrote  only 
for  his  own  instrument,  the  piano,  with  the  exception  of  a  few  beau- 
tiful songs. 

As  both  a  pianist  and  composer,  Chopin  exerted  a  rare  influ- 
ence on  modern  music,  for  he  gave  us  not  only  the  true  poetic  con- 
ception of  tone,  but  also  the  possibility  of  combining  national  effects 
in  music,  by  his  use  of  the  Mazurkas,  Polonaises  and  Waltzes  of 
Poland.  Although  all  of  Chopin's  music  is  poetic  expression,  verging 
toward  program  music,  he  gave  no  titles  to  his  works  and  sought  to 
make  no  suggestions  to  his  hearers  of  the  hidden  beauty,  which  each 
listener  feels  in  lurking  in  the  depths  of  his  musical  tone  poems. 

Franz  Liszt  (1811-1886),  of  Hun- 
garian parentage,  was  trained  as  a  pianist 
in  Vienna  and  Paris,  where  his  early  life 
was  spent.  Later,  Liszt  became  identified 
with  the  German  School  and  may  well  be 
regarded  as  the  founder  of  the  modern 
instrumental  school  of  Germany  to-day. 
Liszt  was  not  only  the  greatest  of  the 
bravura  pianists,  but  his  extraordinary 
personality,  his  generosity  and  remark- 
able teaching  ability,  would  cause  him 
to  be  ranked  as  important  in  mu- 
sical history  had  he  never  written  any 
compositions.  As  a  pianist  he  estab- 
lished the  plan  of  piano  transcriptions  of  songs,  operatic  and  orches- 
tral compositions,  and  every  great  pianist  since  his  day  has  acknowl- 
edged his  great  genius  as  a  technical  virtuoso.  All  his  works  for 
piano  make  use  of  brilliant  technical  effects.  His  Hungarian  Rhap- 
sodies, built  upon  Hungarian  folk  dances,  are  among  the  most  popular 
of  his  works.  Liszt  left  many  large  works  for  chorus,  his  two  ora- 
torios, "St.  Elizabeth"  and  "Christus,"  being  remarkable  for  their 
dramatic  instinct,  yet  he  wrote  no  operas.  His  greatest  works  are  the 
two  Symphonies  with  Choruses,  "Faust"  and  "Dante's  Divine  Com- 
edy," and  the  thirteen  Symphonic  Poems  for  Orchestra.  In  these  works 
he  allied  himself  as  a  firm  adherent  of  the  school  of  program  music 
masters,  using  titles,  guiding  themes,  characteristic  instrumentation  and 


FRANZ     LISZT 


97 


I h  e     History     o  J      M  u  s  i  c 

a  new  development  of  the  sonata  form  to  make  possible  tin-  telling  of 
his  marvelous  stories  in  tone.  For  the  orchestral  effects  and  the  forms 
developed  by  the  French  School  sec  Lesson  XXVII,  Course  III. 

ILLUSTRATIONS 

35241  Overture— Carnival  Romain  (Berlioz)  Victor  Concert  Orchestra 
64224     Mazurka     (Op.  15,  No.  2)     (Chopin  |  Vladimir  de  Pachmann 

74260     Prelude  (Op.  28,  No.  24)     Etude  (Op.  10,  No.  5)     (Chopin) 

Vladimir  de  Pachmann 

35122     Hungarian  Rhapsody,  No.  2     (Liszt)  Pryor's  Band 

HINTS  FOR  TEACHERS 
A  comparison  between  German  and  French  Romantic  Schools 
should  be  the  basis  of  a  short  paper  by  students  at  this  time.  As  the 
principles  of  the  Romantic  School  are  the  foundations  of  our  modern 
schools  of  to-day,  a  strong  point  should  he  made  of  the  nationality 
which  is  apparent  in  Chopin's  and  Liszt's  music. 

QUESTIONS 
Which  of  these  compositions  reflect  nationality;     Which  program 
music  .'     Which  poetic  thought?     Which  are  for  piano? 

CHORUSES 
Memorial  March  (Chopin). 
Thou  Art  Like  a  Flower  (Liszt). 


Lesson  XVII 

Opera  Tie  fore  Wagner 

Although  the  keynote  of  the  Romantic  School  "individual  expres- 
sion," made  itself  manifest  in  the  most  striking  manner  in  the  purely 
instrumental  schools,  we  find  a  great  interest  in  opera  at  this  time 
as  well.  As  stated  in  Lesson  XV  the  first  great  national  opera  of 
Germany  was  Carl  Maria  von  Weber's  "Der  Freisehutz,"  which  ap- 
peared in  1821.  Other  composers  who  contributed  to  the  German 
Romantic  Opera  were  Ludwig  Spohr  (1781-1859)  and  Heinrich 
Marschner  (1705-1861). 

The  dominant  influence  in  Italy  at  this  time  was  that  of  Rossini 
(1702-1868),  who  wrote  many  dramatic  absurdities  into  the  Opera 
Seria,  but  whose  use  of  Opera  Buff;i  was  masterful. 

This  lighter  form  of  opera,  known  in  France  as  Opera  Comique, 

98 


The     History     of     M  u  s  i  c 


became  wrv  popular  in  Paris,  where  witty  dialogue,  sparkling  music 
and  piquant  acting  always  received  popular  approval.  The  names  to 
be  remembered  in  France  during  this  period: 

Etienne  Mehul  (1763-1817),  "Joseph." 

Francois  Boieldieu  (1775-1834),  "La  Dame  Blanche." 

Daniel  Auber  (1782-1871),  "Fra  Diavalo." 

Louis  lierold  (1791-183   ),  "Zampa." 

Jacques  Halevy  (1799-1862),  "La  Juive." 

The  French  successor  of  the  Opera  Seria  was  the  French  Grand 
Opera.  With  the  reconstruction  of  Paris  after  the  Revolution,  two 
National  Opera  Houses  were  built,  one  for  the  production  of  Opera 
Comique,  the  other  for  Grand  Opera.  To  Paris  at  this  time  came 
many  of  the  greatest  operatic  composers  of  the  day,  to  join  those 
Italians  who  had  always  maintained  there  an  Italian  School  of  Opera. 
The  greatest  names  to  be  remembered  are : 

Luigi  Cherubini  (1760-1812),  who  was  from  1788  associated  with 
the  French  School,  and  was,  for  many 
years,  the  Director  of  the  Paris  Con- 
servatory. He  follows  Mozart  rather 
than  Gluck,  but  his  extreme  pedantic  in- 
sistence on  formal  expression,  handicaps 
severely  his  best  attempts.  Cherubini 's 
greatest  works  are :  ' '  Lodoiska, "  "  Me- 
dee, "  "Les  Deux  Journees,"  and  al- 
though they  are  tragic  in  character,  they 
are  classed  as  Opera  Comique  because 
they  contain  spoken  dialogue. 

Gasparo  S  p  on  t  i  n  i  (1771-1851) 
treated  historic  and  heroic  subjects  with 
pompous  manner.  luigi  cherubini 

Also  to  the  French  Grand  Opera  School  belongs  Rossini's  "Wil- 
liam Tell,"  the  greatest  of  his  works  in  the  Grand  Opera  manner. 
Rossini's  two  Italian  followers,  who  also  wrote  for  the  Paris  stage, 
were : 

Gaetano  Donizetti  (1797-1818),  who  wrote  in  both  Opera  Comique 
and  Grand  Opera  style;  and  Vincenzo  Bellini  (1801-1835)  who  wrote 
only  in  the  serious  style. 

It  was  a  German,  however,  who  gave  the  French  people  that  form 
of  French  Grand  Opera,  which  in  spectacular  effects  had  never  been 


99 


The     History     of     Music 


equaled,  and  which  caused  him  to  become  the  idol  of  the  Parisian 
public.  Originally  named  Jakob  Liebmann  Beer,  this  greal  composer 
whom  we  know  as  Giacomo  Meyerbeer  (1791-1864),  held  the  opera 
stage  in  Europe  until  the  advent  of  Richard  Wagner.  Meyerbeer  was 
brilliantly  gifted,  but  all  his  efforts  were  directed  toward  the  effective, 
superficial  ideas  of  the  stage,  rather  than  toward  its  greatest  ideals. 
Be  was  the  real  founder  of  melodramatic  opera,  which  has  been  so 
popular  since  his  day.    The  greatest  operas  of  this  period  are: 

Germany: 

f  "  Der  Freischutz." 

Carl   .Maria  von   Weber "  Euryanthe." 

|  "Oberon." 

Ludwig  Spohr I  "Faust." 

I  "  Jessonda." 


Heinrich  Marschner 
Italy : 

Gioachino  Rossini .  . 


"  Hans  Heiling.'' 
"  The  Vampire." 

Opera  Buff  a. 
"  Barber  of  Seville.' 

Opera  Serin. 
"  William  Tell." 
"  Semiramide." 


Gasparo  Spontini. .  .  ....     "La  Vestale." 

Don  Pasquale." 

Gaetano  Donizetti 


Vincenzo  Bellini. 


Giacomo  Meyerbeer 


"  Lucrezia  Borgia." 

"  Lucia  di  Lammermoor.' 

"  Elisir  d'Amore." 

"  La  Sonnambula." 
"  Norma." 
"  I  Puritani." 

"Robert  Le  Diablo." 
"  Les  Huguenots." 
•'Le  Prophete." 

"  L'Africaine.  " 


ILLUSTRATIONS 

88391     Largo  al  factotum     ("  Barber  of  Seville  ")     (Rossini)         Titta  Ruffo 

88299     Mad  Scene     ("  Lucia  di  Lammermoor  ")     (Donizetti) 

Mme.  Tetrazzini 

74275     Benediction  of  the  Swords     ("  Les  Huguenots  ") 

(Meyerbeer)  Journet,  with  Metropolitan  Opera  Chorus 


100 


The     History     of    Music 


HINTS  FOR  TEACHERS 

Mention  the  use  of  the  "Barher  of  Seville"  story  by  Mozart  in 
"Figaro,"  and  the  humor  as  here  portrayed;  point  out  the  historical 
material  used  by  Meyerbeer  in  "Les  Huguenots"  and  the  literary 
significance  of  "Lucia  di  Lammermoor."  (See  "Hints  for  Teachers," 
Lesson  XII,  Course  IV.) 

QUESTIONS 

Which  selection  is  from  Opera  Buffa  ?  Which  from  Grand  Opera  ? 
Which  is  the  most  dramatic?  Does  the  orchestra  aid  in  the  dramatic 
interpretation?  Which  voice  sings  with  chorus?  Which  gives 
patriotic  feeling? 

CHORUSES 


The  Highlands  (Boieldieu). 

List,  the  Trumpets'   Thrilling  Sound    ("Huguenots") 


(Meyer- 


beer), 


0,  Italia  Beloved  (Donizetti). 
Masaniello  (Auber). 


Lesson  XVIII 

Wagner 

By  many,  Richard  Wagner  (1813-1883)  is  regarded  as  the 
Revolutionist  of  Opera,  who  demolished  all  old  forms,  and  who  recon- 
structed the  Music  Drama  on  principles  en- 
tirely his  own.  In  the  strictest  sense,  this  is 
not  true,  for  Wagner  simply  returned  to  th 
oldest  version  of  the  Music  Drama  and  found, 
that,  with  the  Camerata  in  Florence,  the  only 
idea  has  been  to  produce  a  work  in  which  the 
music,  drama  and  interpretation  should  be  of 
equal  importance.  He  observed  the  changes 
and  abuses  which  Gluck  had  sought  to  cor- 
rect, and  he  found  that  the  Opera  School  of 
the  nineteenth  century  had  fallen  back  into 
many  of  the  old  ideas,  with  the  result  that 
there  was  no  longer  a  complete  unity  in 
operatic  works. 


WILHELM      RICHARD      WAGNER 


101 


T  h 


History     of     M  u  s  i  c 


* 


ft 
RrTttV  * 
.     I 

PR     « 


TANNHAUSER    ON     HIS    WAY    TO    THE    WARTBURG 


Wagner  tells  us  in  his  auto- 
biography that  his  early  life  was 
influenced  by  the  dramas  of  Shake- 
speare, the  symphonies  of  Beetho- 
ven, and  the  operas  of  von  Weber. 
Wagner's  first  operas  were  con- 
structed on  the  lines  of  the  French 
Grand  Opera — the  first  two  were 
absolute  failures,  but  with  the 
production  of  "Rienzi"  in  1841, 
Wagner  was  proclaimed  the  equal 
if  not  the  superior,  of  Bellini, 
Donizetti  and  Meyerbeer.  But 
in  the  writing  of  this  work  Wag- 
ner had  discovered  the  dramatic 
absurdities  of  the  form,  and 
in  his  next  work,  "The  Flying 
Dutchman,"  he  attempted  his  first 
important  use  of  the  "leit  motif," 

or  characteristic  theme  for  his  different  characters,   and  also  used 

these  themes,  in  anticipation  of  the 

advent  of  his  characters,  in  a  man- 
ner   he    later    described    as    "the 

making  of  the  audience  a  part  of 

the  being."     On  his  way  to  Dres- 
den to  conduct  "Rienzi,"  Wagner 

visited  the  Wartburg  Castle,   and 

there  he  became  familiar  with  the 

legendary  stories  which  he  uses  in 

all  his  later  works.    "Tannhauser" 

gives  us  an  actual  description   of 

the  Minnesinger   Knights  who   in- 
spired Wagner  with  the  Teutonic 

versions  of  ' '  The  Ring  of  the  Nibe- 

lungen,"    "Lohengrin,"    "Tristan 

and  Isolde"  and  "Parsifal." 

"Tannhauser"   was   produced 

in  1845,  but  brought  down  such  a 

storm  of  criticism  that,  when  Wag- 


*  set: 


1 A N N HAT 


102 


The     History     of     Al  u  s  i  c 

ner  was  forced  to  leave  Germany  a  political  exile,  he  found  himself  a 
musical  outcast,  as  well.  Only  one  great  genius,  Franz  Liszt,  seemed  to 
appreciate  his  efforts,  and  to  Liszt  at  Weimar,  Wagner  sent  his 
"Lohengrin."  This  work  is  really  the  turning  point  of  Wagner's 
career.  It  was  produced  by  Franz  Liszt  on  August  28,  1850,  for  the 
centennial  celebration  of  Goethe's  birth  at  Weimar.  To  the  little  scho- 
lastic town  all  the  greatest  minds  of  Germany  had  come  to  do  homage 
to  the  great  German  poet,  and  they  heard  for  the  first  time  the  wonder- 
ful music  drama  of  "Lohengrin."  From  that  day  Wagner  was  recog- 
nized as  a  genius  by  his  adversaries  as  well  as  by  his  friends. 

In  "Lohengrin"  Wagner  not  only  uses  the  "leit  motif,"  but  he 
also  makes  use  of  characteristic  instrumentation :  thus,  Lohengrin 's 
motif  is  always  given  by  the  strings,  Elsa's  by  the  wood-winds,  and 
King  Henry's  by  the  brasses.  With  "Lohengrin,"  too,  Wagner  also 
used  the  overture  as  a  prelude  or  vorspiel,  to  prepare  his  hearers  for 
the  action  which  is  to  follow,  and  we  find  each  act  has  its  own  prelude, 
and  these  are  as  important  to  the  dramatic  significance  as  the  later 
action  on  the  stage. 

Although  "Lohengrin"  became  the  most  popular  opera  of  the 
day,  Wagner  had  no  opportunity  of  hearing  his  work,  but  remained 
still  an  exile  in  Switzerland.  He  had  practically  completed  his  entire 
"Ring  of  the  Nibelungen,"  "Tristan  and  Isolde,"  "Die  Meister- 
singer, "  and  had  made  sketches  for  "Parsifal,"  when  he  was  recalled 
to  Germany  by  the  young  King  Ludwig  II  of  Bavaria,  who  placed 
wealth  and  power  behind  him,  and  made  possible  the  building  of  an 
ideal  playhouse,  in  Bayreuth,  where  his  works  could  be  given  an  ideal 
performance. 

Wagner  marks  the  culmination  of  the  Romantic  School  and  the 
beginning  of  the  Modern  School,  for  every  great  opera  since  his  day 
clearly  reflects  the  influence  of  the  ' '  greatest  musical  personality  since 
Beethoven." 

Wagner's  theory  of  the  Music  Drama  returns  to  the  fundamental 
principle  that  music,  poetry  and  action  shall  be  inseparable.  As  Wag- 
ner wrote  his  own  dramas  and  conceived  his  own  stage  effects,  the 
music  therefore  becomes  a  more  vital  factor  than  in  the  works  of 
his  predecessors.  The  vocal  parts  do  not  conform  to  any  absolute  set 
rules  regarding  formal  recitatives  and  arias,  but  remain  ever  a  part 
of  a  complete  dramatic  effect. 

103 


The     H  i  s  t  o  r  y     o  f     M  u  s  i  c 


Early  Operas. 


Operas  of  Wagner's  Transi- 
tion to  Music  Drama. 


Music  Drama 


WAGNER'S  WORKS 

"Die  Keen."  Only   perform- 

"Das  Liebes-verbot." \  ed  now  as  curios- 

[  ities. 
"Rienzi,"  1842,  in  style  of  French  Grand 
Opera. 

'The  Flying  Dutchman,"   1843. 
'  Tannhauser,"  1845. 
"Lohengrin."  1850. 

"The  Ring  of  the  Niebelungen," 
consisting  of  four  parts: 
"The  Rhinegold." 
"The  Valkyrie." 
"Siegfried." 

"The  Dusk  of  the  Gods." 
"Tristan  and  Isolde."     From  legend  of 
Gottfried  von  Strassburg,  Minnesinger. 
"The     Mastersingers     of     Nuremburg," 
1868.     Wagner's  one  comic  opera.     A 
satire  on  his  critics. 
"Parsifal."    A  Sacred  Festival  Opera  on 
the  Grail  legend  of  Wolfram  von  Esch- 
enbach,  Minnesinger. 


ILLUSTRATIONS 

31846  Bridal  Chorus — "Lohengrin" 

70080  Prize  Song — "  The  Mastersingers  " 

62693  Ride  of  the  Valkyries— "  The  Valkyrie" 

87002  Brunnhilde's  Battle  Cry— "The  Valkyrie" 


Victor  Opera  Chorus 

Lambert  Murphy 

La  Scala  Orchestra 

Mme.  Gadski 


HINTS  FOR  TEACHERS 

This  is  too  large  a  subject  for  one  lesson,  but  must  be  given  in 
condensed  version  so  that  pupils  may  know  Wagner's  principles,  and 
their  applications  to  his  principal  works.  Refer  to  the  Minnesingers 
and  Meistersingers  of  our  earlier  period  of  history.  Also  point  out 
the  significance  of  the  Wartburg  Castle,  where  the  Minnesingers  met. 
Remember  that  it  was  here  Martin  Luther  was  imprisoned,  and  here 
he  wrote  "Eine  Feste  Burg."  In  the  little  town  of  Eisenach  Johann 
Sebastian  Bach  was  born.  We  study  Wagner  in  detail  in  Course 
IV,  so  these  illustrations  are  chosen  to  illustrate  two  points  only. 
First,  Wagner's  use  of  the  leit  motif  in  the  orchestra  to  assist  Lohen- 
grin in  his  narrative,  and  to  help  the  audience  by  this  use  of  the 


104 


The     History     of     Musi  c 


grail  motif  to  know  from 
whence  Lohengrin  h;is 
come.  Notice  the  use  of 
strings  in  the  orchestra. 

In  the  "Ride  of  the 
Valkyries ' '  Wagner  gives 
us  a  musical  description  in 
the  orchestra  to  introduce 
his  third  act  of  "The  Val- 
kyrie" and  to  carry  us  into 
the  final  scene.  (See  Les- 
son XIV,  Course  IV.)  In 
the  Prize  Song  we  have  an 
excellent  example  of  Wag- 
ner's great  melodic  gift. 

Remember  that  Wag- 
ner lived  in  exile  during 
the  period  of  the  Civil 
War  in  America. 

QUESTIONS 
Are  these  illustrations 
program  music  or  absolute 
music  ?  What  principles 
does  Wagner  use  in  the  sec- 
ond ?  Where  does  the  third 
selection  occur  in  the  opera?  For  what  purpose  is  "The  Ride" 
introduced?  What  instruments  are  used?  Which  number  is  an 
example  of  poetic  thought?     Which  is  imitative  music? 

CHORUS 

Spinning  Chorus  from  "Plying  Dutchman"   (Wagner). 


DIE     WARTBURG 


Lesson  XIX 

The  Influence  of  Wagner 

Wagner's  influence  has  been  apparent  in  all  opera  since  his  day. 
As  a  striking  example  of  this  is  the  change  found  in  Italy.  Of  the 
Italian  masters,  Giuseppe  Verdi  (1813-1901),  stands  pre-eminent.    His 


105 


The     History     of     M  u  s  i  c 

early  works  are  all  in  the  traditional  style  of  the  Italian  Opera,  but  in 
1870,  after  the  universal  recognition  of  Wagner,  we  find  that  Verdi 
employs  some  of  the  Wagnerian  ideas,  with  the  result  that  his  most 
sueeesst'ul  dramatic  works  are  written  after  this  period.  To  corn- 
pa  iv  "Aida"  (1871),  "Otello"  (1887),  and  "Falstaff"  (1893),  with 
Verdi's  dramatic  absurdities  of  his  earlier  period,  is  to  note  how 
great  was  his  gain  in  the  musical  expression  as  well  as  dramatic 
thought.  All  Verdi 's  followers  have  declared  that  the  influence  of 
Wagner  has  been  strongly  apparent  in  the  modern  Italian  School. 

In  France  the  change  in  the  methods  used  by  Gounod,  while  not 
as  radical  as  that  noticeable  in  Verdi,  is  still  apparent.  Bizet,  the 
composer  of  "Carmen,"  was  a  devoted  adherent  of  Wagner's  ideals 
as  adapted  to  the  Frencli  Opera  School,  while  the  modern  masters 
of  the  French  School  have  all  shown  the  direct  influence  of  Wagner's 
"Music  of  the  Future." 

In  Germany  the  direct  followers  of  Wagner  in  opera  are  Carl 
Goldmark  (1830).  Engelbert  Humperdinck  (1854)  and  Richard 
Strauss  (1864). 

ILLUSTRATIONS 

89018     Duet— Home  to  Our  Mountains     ("  II  Trovatore) 

(Verdi)  Mme.  Homer  and  Caruso 

88178     Toreador  Song  ("Carmen")    (Bizet)  de  Gogorza  and  Chorus 

64188     Witches'  Ride     ("  Hansel  and  Gretel  ")     (Humperdinck) 

Albert  Reiss 
89028     Duet— The  Fatal  Stone     ("Aida")     (Verdi) 

Mme.  Gadski  and  Caruso 

HINTS  FOR  TEACHERS 

All  of  the  operas  will  be  studied  in  detail  in  Course  IV.  The 
"  I  liinsel  and  Gretel"  record  illustrates  folk  spirit  as  well  as  humorous 
description.  Give  a  short  outline  of  the  story  of  "Aida"  and  point  out 
that  here  we  have  example  of  a  duet  closing  the  opera,  which  has 
real  dramatic  significance. 

QUESTIONS 

What  principle  does  the  "Toreador"  Song  illustrate?  What  voice 
sings  it?  How  is  national  feeling  expressed?  What  element  is  appar- 
ent in  the  third?  Is  the  vocal  beauty  sacrificed  to  give  the  humorous 
conception?  In  the  first  duet  what  voices  did  you  hear?  In  the  last? 
Which  duet  is  most  dramatic? 

106 


The     History     of     M  u  s-  i  c 

CHORUSES 

Unfold,  Ye  Portals  ( ' '  Redemption  " )   ( Gounod ) . 
Praise  Ye  the  Father  (Gounod). 
Nazareth   ( Gounod ) . 


L 


ess  on 


XX 


Johi 


Bra  hi 


Johannes  Brahms  (1833-1897)  stands  as  the  foremost  German 
composer  of  absolute  music  in  the  nineteenth  century.  In  describing 
his  method  of  composition,  Mr.  Huneker  once  said,  "Brahms  pours 
the  new  wine  of  the  Romanticists  into  the  old  bottles  of  the  Classicists." 

When  but  a  young  boy,  Brahms  was  discovered  by  Joseph 
Joachim  and  Franz  Liszt,  who  sent  him  to  Robert  Schumann,  then 
considered  the  foremost  critic  in  Germany.  Schumann  had  long  pre- 
dicted the  advent  of  a  genius  who  should  return  to  the  old  forms, 
bringing  the  poetic  quality  of  the  Modern  School  with  him :  he  now 
proclaimed  that  this  youth  of  nineteen  was  the  one,  who  should  be  the 
leader  of  the  pure  and  true  in  modern  German  instrumental  music. 

Brahms  has  often  been 
ranked  with  Bach  and  Beethoven, 
for  his  compositions  show  a  rare 
mastery  of  the  technical  difficul- 
ties of  the  art,  combined  with  the 
love  of  poetic  tonal  expression, 
which  has  been  possessed  by  but 
few.  Yet  the  true  beauty  and 
worth  of  the  compositions  of 
Brahms  can  only  be  appreciated 
by  an  intimate  acquaintance.  To 
appreciate  the  greatness  of 
Brahms  one  must  make  an  effort 
to  study  his  compositions  just  as 
ono  must  realize  the  symbolic 
depths  of  Robert  Browning  be- 
fore his  true  worth  as  a  poet 
stands  revealed. 


The     History     of     Music 

Since  the  beginning  of  Romanticism  the  musical  world,  looks, 
first,  for  music  which  by  its  descriptive  character,  its  amazing  techni- 
cal achievements  or  its  startling  tonal  combinations,  will  surprise  and 
amaze.  Before  the  advent  of  Brahms,  they  were  prone  to  forget  that 
the  true  tonal  beauty  of  absolute  music,  was  as  important  in  music's 
development  as  that  of  program  music. 

One  of  our  modern  critics  in  comparing  Brahms  with  Tschaikow- 
sky  said:  "Tschaikowsky 's  music  sounds  better  than  it  is,  while 
Brahms'  music  is  better  than  it  sounds." 

Brahms  wrote  no  operas,  but  his  beautiful  songs,  some  as  simple 
as  the  old  folk  song,  others  in  the  style  of  Schubert's  art  lieder,  show 
his  rare  genius  of  vocal  expression;  his  "German  Requiem"  is  rightly 
regarded  as  one  of  the  greatest  choral  works  of  the  modern  day. 
Brahms  wrote  many  short  compositions  for  piano,  which  reflect  the 
style  and  poetic  character  of  Schumann ;  sonatas  and  chamber  com- 
positions; concertos  for  violin  or  piano  with  orchestra;  overtures 
for  orchestra;  and,  like  his  devoted  master,  Robert  Schumann,  four 
great  symphonies.  He  contributed  no  new  forms,  but  he  did  more  for 
modern  music,  by  showing  again  to  the  world,  the  beauty  of  music 
as  an  absolute  art. 

ILLUSTRATIONS 
17181     Wiegenlied     (Lullaby)     (Brahms)  Elsie  Baker 

87099     Auf  dem  Kirchhofe  (In  the  Churchyard)     (Brahms)        Mme.  Gadski 
64131     Hungarian  Dance     (Brahms)  Fritz  Kreisler 

HINTS  FOR  TEACHERS 

An  excellent  illustration  of  Brahms'  deep  poetic  quality  is  to  be 
found  in  these  songs.  In  the  Hungarian  Dance  notice  the  use  of  the 
national  themes,  and  speak  of  Brahms'  interest  in  Hungarian  melo- 
dies, which  came  through  his  friendship  for  Edouard  Remenyi. 

QUESTIONS 
What  voice  sang  the  first  selection?     The  second?     Which  song 
is   an    example   of   folk-manner   song?      Which   of   art   song?     What 
instrument  played  the  last  number?    Which  is  national  in  character? 

CHORUSES 
Minnelied  (Brahms). 
Lullaby  (Brahms). 
Greeting  (Brahms). 
The  Sandman   (Brahms). 


The     History     of    M  u  s  i  c 


Lesson  XXI 

Modern  Music 

The  School  of  Modern  Music  in  general  is  a  direct  outgrowth  of 
the  Romantic  School.     It  may  be  said  that  Richard  Wagner's  works 
mark  the  culmination  of  the  Romantic  School  and  are  the  foundation 
of  modern  Opera,  and  that  Franz  Liszt 
stands   in    the   same   relation    to    instru- 
mental music. 

"With  the  exception  of  the  great- 
est modern  German  master,  Johannes 
Brahms,  and  his  followers,  all  modern 
instrumental  music  has  been  founded  on 
the  two  principles,  of  the  Romantic 
School,  namely,  Program  Music  and 
Nationality. 

The  Instrumental  Schools  of  both 
Italy  and  France  now  rank  with  the 
Schools  of  Opera  in  those  lands.  In  the 
latter  country  it  may  be  said  that  the 
most  interesting  development  of  modern 
instrumental  music  is  now  taking  place. 

The  most  important  feature  of  the  latter  part  of  the  nineteenth 
century  has  been  the  rise  of  the  National  Schools  of  Music  in  Russia, 
Bohemia,  Norway,  Sweden  and  Finland.  In  England  and  America, 
while  the  compositions  have  not  been  so  remarkable,  as  in  other  lands, 
we  still  find  a  strong  impetus  toward  musical  growth.  The  great  names 
to  be  remembered  in  these  Modern  Schools  are: 

Germany : 

Johannes  Brahms  (1833-1897). 

Engelbert  Humperdinck  (1854- 

Carl  Goldmark  (1830-         ). 

Richard  Strauss  (1864-  ). 
France : 

CSsar  Franck  (1822-1890). 

Camille  Saint-Saens  (1835- 

Jules  Massenet  (1842-1912) 

Claude  Debussy  (1862-  ). 
Italy : 

Giuseppe  Verdi  (1813-1901.) 

Giovanni  Sgambatti  (1843-         ). 


ANTON     RUBINSTEIN 


)• 


)• 


109 


The     History     of     Music 

Giacomo  Puccini  (1858-         ). 

Ermanno  Wolf-Ferrari  (1874-         ). 
Ill  ^sia: 

Anton  Rubinstein  (1830-1894). 

Peter  Ilitysch  Tschaikowsky  (1840-1893). 

Alexander  ( Jlazounow  (1865-         ). 

Sergei  Rachmaninoff  (1873-         ). 
Scandinavia: 

Niels  Gadc,  Denmark  (1817-1890). 

Edward  Grieg,  Norway  (1843-1907. 

Emil  Sjogren,  Sweden  (1853-         ). 

Jan  Sibelius,  Finland  (1865-         ). 
Bohemia: 

Friedrich  Smetana  (1824-1884). 

Antonin  Dvorak  (1841-1904). 
England. 

Edward  Elgar  (1857-         ). 
American  : 

Edward  MacDowell  (1861-1908.) 


ILLUSTRATIONS 

64164    The  Old  Witch     ("  Hansel  and  Gretel")     (Humperdinck) 

Otto  Goritz 


74135     Meditation     ("Thai's")     (Massenet) 
31739     Overture— 1812     (Tschaikowsky) 


Maud  Powell 
Pryor's  Band 


HINTS  FOR  TEACHERS 

Review  lessons  on  the  Romantic  School.  All  of  the  development 
of  music  is  a  logical  growth.  Be  sure  that  your  class  feels  this  espe- 
cially in  relation  to  the  Modern  School.  No.  1  is  Program  Music  in 
Opera.  No.  2  is  an  interlude  used  as  is  the  Wagnerian  Prelude  to 
prepare  the  audience  for  the  action  in  the  next  scene.  No.  3  is 
National  Program  Music. 

QUESTIONS 

Wha1  voice  sang  the  first  selection?  To  what  school  does  Hum- 
perdinck belong?  To  what  school  does  Massenet  belong?  What 
instrument  played  the  second?  What  phase  of  the  Wagnerian  prin- 
ciple docs  this  represent?  What  does  the  third  express?  Is  this  Pro- 
gram Music  or  National  Expression?  To  what  school  does  Tschai- 
kowsky belong? 

no 


The     History     of     Music 


CHORUSES 


Haakon's  Cradle  Song  (Grieg). 
Welcome  the  Morning  (Grieg). 
Olav  Trygvason  (Grieg). 


Lesson  XXII 

The  Russian  School 

The  first  Russian  composer  to  recognize  the  possibilities  of  his 
native  land  was  Michael  Glinka  (1803-1857),  who  may  be  regarded 
as  "The  Father  of  Russian  Music."  A  close  student  of  folk  music, 
Glinka  felt  that  the  Russian  people,  were  wondrously  endowed  with 
an  individual  musical  speech,  which  he 
now  attempted  to  show  them  was  as  worthy 
of  their  consideration  as  the  Italian  and 
French  music,  in  which  they  had  so  long 
delighted.  Glinka  gave  to  the  Russian 
people  their  first  opera,  "A  Life  for  the 
Czar,"  which  was  produced  in  1836. 

Anton  Rubinstein  (1830-1894)  must, 
however,  be  considered  as  the  "Founder 
of  the  Russian  School,"  for,  although 
trained  in  the  German  Romantic  School, 
it  was  through  the  influence  of  Rubinstein 
that  the  National  Russian   Schools  of  St. 

MICHAEL    GLINKA 

Petersburg   and   Moscow   were   established 

in  1861.  Here  music  was  taught  to  the  Russian  peasant,  as  to  the 
nobility,  by  Russian  teachers,  speaking  the  Russian  language.  A 
remarkable  pianist  and  a  composer  whose  works,  though  graceful 
and  charming,  are  outranked  by  his  contemporaries,  it  is  safe  to  say 
that  Rubinstein's  chief  cause  for  fame  in  the  future,  will  be  the  fact 
that  he  laid  the  foundation  of  the  great  Russian  School,  which  has 
exerted  such  a  tremendous  influence  on  modern  music. 

"When  the  Russian  School  was  originally  established  in  1861,  most 
of  the  musicians  connected  with  its  work  were  men  of  other  profes- 
sions, as:  Cesar  Cui  (1835),  lawyer;  Borodin  (1839-1881),  a  physi- 
cian; Rimsky-Korsakoff   (1844)    a  naval  officer;  Moussorgsky    (1893- 


T  he     History     of     M  u 


s  i  c 


CESAR    CUI 


1881)  a  government  attache;  Tschai- 
kowsky (1840-1893),  a  lawyer.  The 
influence  of  these  masters  built  a  re- 
markable school  of  music  in  Russia, 
where  to-day  the  leading  figures  are: 

Glazounow,  1865; 
Arensky,   1861; 
Rachmaninoff,  1873; 
Scriabinc,   1872. 

Of  the  first  group  the  greatest 
genms  was  Peter  Ilitsch  Tschaikowsky, 
one  of  the  most  dominating  personali- 
ties of  the  Modern  School.  In  his  early 
life  he  was  an  enthusiast  over  Italian 
music,  and  he  cherished  a  deep  love 
for  Mozart's  grace  and  elegance  of  expression,  throughout  his  life. 
Of  a  morbid  temperament,  Tschaikowsky,  reflects  in  almost  all  his 
compositions  the  deep  brooding  sadness  of  the  Russian  heart.  His 
use  of  the  orchestra  is  brilliant  and  daring,  and  his  combinations  of 
tonal  color  are  as  barbaric  as  many  of  the  customs  of  his  native  land. 
He  wrote  in  all  forms,  his  symphonies  and  concertos  being  the  most 
remarkable  of  his  orchestral  compositions. 

In  his  program  music,  Tschaikowsky  shows  an  originality,  which 
-.is  most  remarkable;  then  in  the  absolute  expression  of  poetic  thought 
in  tone,  he  gives  us  Russian  national 
music,  worked  out  in  polyphonic  beau- 
ties, which  make  his  compositions  de- 
serving of  their  great  popularity.  His 
most  popular  orchestral  works  are  the 
"Fifth  Symphony,"  the  "Manfred 
Symphony,"  the  "Pathetique  Sym- 
phony," the  "Overture  1812"  and 
"Marche  Slave." 

Of  the  younger  group  of  Russians 
the  genius  of  Tschaikowsky  has  seemed 
to  fall  on  Alexandre  Glazounow,  who 
has  already  written  six  symphonies, 
and  many  excellent  shorter  composi- 
tions of  distinctly  Russian  character. 


ALEXANDRE    GLAZOUNOW 


112 


The     History     of     Musi  c 


ILLUSTRATIONS 

60039    Toreador  et  Andalouse     ("Bal  Costume  ") 

(Rubinstein)  Balalaika  Orchestra 

70077     Kammenoi-Ostrow     (Rubinstein)  Victor  Herbert's  Orchestra 

64261     Kaleidoscope     (Cesar  Cui)  Efrem  Zimbalist 

64209     Song  of  the  Shepherd  Lehl     (From  "Snow  Maiden  ") 

(Rimsky-Korsakoff)  Alma  Gluck 

31800     Adagio  Lamentoso— Symphony  Pathetique     (Tschaikowsky) 

Pryor's  Band 

HINTS  FOR  TEACHERS 

Have  class  remember  that  foreign  influences  came  into  Russia 
at  the  time  of  Peter  the  Great.  The  rise  of  national  expression  in  the 
nineteenth  century  has  been  felt  in  the 
works  of  Tolstoi,  Gogol  and  others  in  the 
literature  and  art  of  Russia.  Before  the 
founding  of  the  Russian  National  Con- 
servatory no  music  was  taught  in  Russia 
except  to  the  nobility,  and  then  by  French, 
Italian  or  German  masters.  To-day  we 
find  Russia  proud  to  honor  many  artists 
and  musicians  who  have  come  from  the  com- 
mon people.  Speak  of  Balalaika  Orchestra 
(see  Lesson  XX,  Course  I),  and  also  refer 
to  the  influence  of  the  folk  music  of  Russia 
on  her  present-day  composers.  Tell  the 
story  of  Tschaikowsky 's  "Pathetique  Symphony." 

QUESTIONS 

What  class  of  music  is  the  first  selection  ?  The  second  ?  The 
third?  The  fourth?  What  instruments  played  each  selection  ?  Which 
belong  to  the  Modern  School?  What  voice  sang  the  third?  Which  is 
imitative?  Which  is  national?  Which  is  an  example  of  poetic 
thought  ? 

CHORUSES 

Melody  in  F  (Rubinstein). 
Wanderers'  Night  Song   (Rubinstein). 
The  Angel  (Rubinstein). 
A  Night  Picture  (Cesar  Cui). 


SERGEI    RACHMANINOFF 


113 


'The     History     of     Musi  c 


EDVARD    IIAliEBl'P    GRIEG 


Lesson  XXIII 

Scandinavian  Music 

Scandinavian   music  should  be  subdivi- 
vided  into  four  groups : 
Denmark: 

Niels  Gade  (1817-1890). 
Norway: 

Ole  Bull  (1810-1880). 

Halfdan  Kjerulf  (1815-1868). 

Edvard  Grieg  (1843-1907). 

Johann  Svendsen   (1840-         ). 

Christian  Sinding  (1856-         ). 
Sweden: 

August  Sodcrmann   (1832-1876). 

Emil  Sjogren  (1853-         ). 

Tor  Aulin   (1866-         ). 
Finland  : 

Jan  Sibelius  (1865-         ). 

The  real  founder  of  music  in  Scandinavia  was  Niels  Gade.  who 
was  greatly  influenced  by  Schumann  and  Mendelssohn,  during  his 
days  of  study  and  frequent  travel  in  Germany.  In  style,  his  work 
resembles  that  of  Mendelssohn,  but 
always  reflects  the  Scandinavian 
spirit,  coupled  with  a  highly  poetic 
Romanticism.  He  stands  in  the 
same  relation  to  Scandinavian 
music  that  Rubinstein  does  to  the 
Russian  School. 

Great  interest  in  the  Scandi- 
navian music,  was  always  aroused 
by  the  marvelous  genius  of  Ole 
Bull,  and  the  songs  of  Kjerulf.  It 
was  Ole  Bull  also  who  discovered 
the  gifts  of  his  younger  country- 
man, Edvard  Hagerup  Grieg,  who 
to-day  is  rightly  regarded  as  the 
most  important  master  of  the  Nor- 
wegian School.  Grieg  was  espe- 
cially successful  in  the  smaller 
forms  of  instrumental  composition 


OLE     BULL 


The     History     of     Music 


PROF.    CHRISTIAN    SINDING 


and    in    his  songs,   although   his   orchestra 

suites,  overtures  and  concertos  for  both 
piano  and  violin  show  remarkable  under- 
standing of  the  possibilities  of  the  modern 
orchestra.  Grieg  also  wrote  three  notable 
violin  and  piano  sonatas,  and  several  large 
compositions  for  chorus  and  orchestra.  In 
all  of  his  works,  although  the  modern  spirit 
is  everywhere  apparent,  Grieg  never  fails 
to  reflect  the  national  flavor  of  the  Nor- 
wegian folk  song. 

Johann  Svendsen  is  rightly  regarded 
as  a  noteworthy  disciple  of  Grieg,  but  the 
mantle  of  the  master  seems  to  rest  on  the 
talented  young  genius,  Christian  Sinding, 
who  is  at  present  the  most  interesting  musical  personage  of 
Norway. 

In  Sweden,  the  best-known  native  composer  is  Emil  Sjogren, 
whose  work  has  been  almost  entirely  confined  to  the  smaller  forms  of 
instrumental  composition  and  to  songs. 

The  most  unique  musical  figure  of  the  North  to-day  is  Jan  Sibe- 
lius, who  has  introduced  to  us  in  his  wonderful  tone  poems  for  orches- 
tra, the  music  and  legends  of  far-away  Finland.  Sibelius  has  undoubt- 
edly been  greatly  influenced  by  the  characteristics  of  the  Modern 

School  in  general  and  the  Scandinavian 
expression  of  Grieg,  in  particular. 


ILLUSTRATIONS 

35007     Peer  Gynt  Suite— Parts  I  and  II 

(Grieg)  Pryor's  Band 

II  Love  You     (Grieg) 
16764  Frederic  Gunster 

|  Cradle  Song     (Grieg)       Emil  Muench 


HINTS  FOR  TEACHERS 

We  have  chosen  illustrations  from 
Grieg  as  his  music  reflects  the  Norse 
characteristics  better  than  any  other 
composer.     Review  Lessons  XXIV  and 


JAN     SIBELIUS 


T  he     H  i  s  t  o  r  y     o  f     M  u  s  i  c 

XXV,  Course  I.  Tell  the  story  of  Ibsen's  "Peer  Gynt."  Have  class 
realize  the  relationship  of  the  Norwegian  dramatists  to  the  school  of 
music. 

QUESTIONS 

What  difference  is  noticed  between  this  suite  and  ballet  suite  of 
Cluck?  What  numbers  of  Bach  were  taken  from  the  suite  form? 
What  is  the  character  of  these  Norwegian  songs?  What  voice  sings 
them  ? 

CHORUSES 

Peasant  Wedding  (Sodermann). 
In  Autumn  (Gade). 
The  Poet's  Tomb  (Gade) 


Lesson  XXIV 

The  Bohemian  School 

Wagner  once  described  Bohemia  as  "the  land  of  harp  players 
and  street  musicians."  It  has  always  been  considered  one  of  the  most 
musical  countries  of  Europe.  In  Prague,  from  the  early  days  to  the 
present  time,  musicians  have  ever  been  assured  of  an  appreciation  of 
their  art,  which  could  be  found  nowhere  else  in  Europe.  From  the 
sixteenth  century  to  our  own  time,  town  pipers  and  strolling  musi- 
cians have  kept  alive  the  folk  music  of  Bohemia,  and  yet  no  definite 
school  of  music  was  established  there  until  the  middle  of  the  nine- 
teenth century.  This  was,  of  course,  largely  due  to  the  political  mis- 
fortunes of  Bohemia. 

The  father  of  Bohemian  music  was  Friedrich  Smetana  (1824- 
1884),  who  was  a  famous  composer  and  pianist,  a  pupil  of  Franz  Liszt, 
whose  form  of  the  symphonic  poem  Smetana  made  his  chief  vehicle 
for  instrumental  expression.  Smetana  left  a  series  of  six  symphonic 
poems,  entitled  "My  Fatherland,"  and  these  each  tell  some  phase  of 
Bohemia's  history  or  represent,  in  tone,  Bohemian  feeling  and  patriot- 
ism. His  opera,  "The  Bartered  Bride,"  is  the  first  Bohemian  opera, 
which  tells  a  Bohemian  folk  tale  and  employs  throughout  Bohemian 
folk  music  and  dances. 

The  greatest  Bohemian  master  was  Antonin  Dvorak  (1841-1904), 
who  carried  on  the  work  begun  by  his  master,   Smetana.     Dvorak 

116 


The     History     of     Music 


wrote  in  all  forms,  but  was  consistent  in  the  employment  of  charac- 
teristic folk  idiom,  which  he  used  in  all  his  music.  He  is  Hie  greatest 
master  of  the  art  of  national  expression  in  all  musical  history.  Born 
of  the  people,  Dvorak  knew  the  folk  mate- 
rial of  his  native  land  in  its  entirety,  and 
in  his  compositions  it  is  ever  employed. 
Dvorak  does  not  bring  in  entire  melodies, 
but  chooses,  as  it  were,  the  essence  of  char- 
acteristic changes  of  melody,  rhythm  and 
harmony,  and  welds  these  together  with  a 
master  hand.  He  lived  in  America  for 
several  years  and  when  he  returned  to 
Bohemia  gave  the  world  his  greatest 
work,  the  Fifth  Symphony,  which  he 
called  "From  the  New  World."  In  this 
work  he  has  made  use  of  the  negro  char- 
acteristics to  be  found  in  American  negro 
melodies. 

The  greatest  of  Dvorak's  works  are  his  "Slavonic  Dances,"  the 
Symphonic  poems,  and  Five  Symphonies  for  Orchestra,  but  he  also 
left  some  excellent  compositions  in  the  form  of  chamber  music,  and 
many  songs  and  short  instrumental  compositions.  His  operas  were 
never  really  successful,  but  his  ' '  Requiem  Mass' '  and  ' '  Stabat  Mater ' ' 
rank  high  in  modern  choral  composition. 

Josef  Suk  and  Zedenko  Fibich  are  Bohemia's  greatest  composers 
to-day. 

ILLUSTRATIONS 


ANTONIN      DVORAK 


35275     Largo  from  the  "  Fifth  Symphony  " 


74163     Humoresque     (Dvorak) 

60078     Songs  My  Mother  Taught  Me     (Dvorak) 


(Dvorak) 

Victor  Concert  Orchestra 
Mischa  Elman 
Lucy  Marsh 


HINTS  FOR  TEACHERS 

Review  Lessons  XX,  Course  I.  "We  have  used  Dvorak  illustrations 
here,  as  Smetana  illustrations  appear  in  Lesson  XX,  Course  I,  and 
Lesson  XVI,  Course  IV. 

QUESTIONS 

Which  number  is  the  best  example  of  national  expression  ?  What 
voice  sings  the  third  selection?    What  instrument  plays  the  second? 


T  h  e     History     of     Music 

CHORUSES 

War  Song  of  the  Hussites  (Old  Bohemian). 
The  Piper  (Bohemian  Folk  Song). 
A  Maiden  Song  (Old  Bohemian). 


L 


esson 


XXV 


Absolute  Music. 

Joseph  Rheinberger  (1839-1901) 
Anton  Bruckner  (1824-1896). 
Max  Bruch  (1838-         ). 
Max  Schillings  (1868-         ). 
Georg  Schumann  (1866-         ). 
Max  Reger  (1873-         ). 


Modern  Germany 

The  modern  German  School  may  be  divided  into  two  classes:  the 
followers  of  absolute  music  after  the  manner  of  Johannes  Brahms; 
and  the  followers  of  the  program  music  of  Franz  Liszt  and  the  opera 
of  Richard  Wagner. 

Program   Music  and   Opera. 

Carl  Goldmark  (1830-        ). 

Engelbert  Humperdinck  (1854-       ). 

Gustav  Mahler  (1860-1911). 

Richard  Strauss  (1864-         ). 

Felix  Weingartner  (1863-         ). 

Hugo  Wolf  (1860-1902). 

The  greatest  genius  of  the  present  day  in  Germany  is  Richard 
Strauss,  who,  although  educated  in  the  strictest  of  anti-Wagnerian 
schools,  has  adopted  the  methods  of  Wagner  and  Liszt.  He  has  car- 
ried the  banners  of  program  music,  both 
in  the  instrumental  and  operatic  school, 
to  the  limit  of  sanity.  There  is  nothing, 
seemingly,  impossible  for  Strauss  to  at- 
tempt to  describe  in  music.  In  his  great 
tone  poems  he  not  only  reflects  moods  and 
poetic  thought,  but  is  capable  of  portray- 
ing every  event,  thought  or  feeling,  in 
tonal  coloring.  If  the  subject  is  repulsive 
or  hideous,  so  is  his  music ;  if  it  be  reli- 
gious, poetic  or  sublime,  this  is  reflected 
in  his  tones.  Even  the  trivial  incidents  of 
every-day  life  in  the  home  is  depicted  in 
his  "Symphonia  Domestica. " 

We   are  too  close  to   Strauss  to  be 


MAX     REGER 


118 


The     H 


i  s  t  o  r  y     of     Music 


able  to  appreciate  his  true  greatness,  for 
his  genius,  even  when  unworthily  used, 
is  colossal.  His  songs  are  marvels  of 
modern  expression  in  the  form  of  the  art 
lieder;  his  operas  of  "Salome,"  "Elec- 
tra,"  and  "Rose  Cavalier"  show  him  to 
be  possessed  of  a  knowledge  of  character- 
ization which  equals  that  of  Wagner;  his 
great  symphonic  tone  poems  for  orches- 
tra, and  his  chamber  music  compositions 
are  epoch-making  works. 

A  rare  genius  was  Hugo  Wolf  (1860- 
1902),  whose  untimely  death  was  most  un- 
fortunate for  the  cause  of  German  music. 
Wolf  has  given  us,  however,  many  of  the  greatest  art  songs  which  the 
world  has  ever  known. 

In  present-day  Germany,  Max  Reger  and  Georg  Schumann  are 
considered  the  foremost  composers  of  the  instrumental  school. 


B*i 

i    j^f 

ff 

w 

f 

Fit 

ENGELBERT      HUMPErmNrK 


31853 

17179-j 

31772 
31832 


ILLUSTRATIONS 

Prelude— "  Hansel  and  Gretel  "     (Humperdinck)  Pryor's  Band 

(a)  Allerseelen     (Richard  Strauss)  Reinald  Werrenrath 

(b)  Zur  Ruh  (Hugo  Wolf)  Reinald  Werrenrath 
Bridal  Song— "  Country  Wedding  "  (Goldmark)  Vienna  Quartet 
Overture — "  Sakuntala  "     (Goldmark)                Kryl's  Bohemian  Band 


HINTS  FOR  TEACHERS 
As  we  shall  study  the  German 
operas  of  this  period  in  Lesson  XIX, 
Course  IV,  we  have  chosen  instrumental 
and  song  selections  for  this  lesson.  Tell 
the  story  of  "Hansel  and  Gretel" 
briefly.  Sketch  out  the  story  of  "Sakun- 
tala" from  the  Indian  legend  of  the 
"Kalidasa. "  Do  not  play  in  regular 
order,  but  have  pupils  tell  which  story 
is  told  by  each  composition. 

QUESTIONS 

Which    compositions    tell    a    story? 
Which     was     played     first?       Second? 


HUGO  WOLF 


119 


T  h 


History     of     Music 


Last  .'      Which    shows    folk    spirit?      Which    has    Oriental    coloring? 
Why? 

CHORUSES 

Brooklet  in  the  Wood  (Rheinberger). 

The  Forest  (Rheinberger). 

A  Song  of  Summer  (Max  Brueli). 


L 


esson 


XXVI 


Modern  Italy 
The  modern  Italian  School,  although  closely  affiliated  with  the 
Opera  School  of  to-day,   also  shows  a  decided  tendency   towards  a 
better  appreciation  of  the  other  branches  of  musical  art.     There  has 
been  practically  no  instrumental  music  developed  in  Italy  since  the 
seventeenth  century,  but  it  is  a  pleasure  to 
record  that  there  now  exists  a  definite  Sym- 
phonic School.    This  is  dominated  by  Giovanni 
Sgambatti,  a  pupil  of  Liszt  and  a  follower  of 
Wagner,    who    has    many    loyal    adherents. 
Among    the    Italian    instrumental    composers 
are  Giuseppe  Martucci  (1856),  Ferruccio  Bu- 
soni   (1866),  and  Marco  Bossi   (1861).     The 
latter    has    written    many    works    for    organ, 
which  are  attracting  equal  attention  with  his 
oratorios  and  masses. 

In  church  music,  the  Italians  of  the  last 
generation  had  sunk  to  a  very  low  plane, 
being  satisfied  with  trivial  operatic  melodies 
entirely  unsuited  to  religious  expression.  The 
present  Pope  has  greatly  encouraged  the  right  development  of 
religious  music,  by  his  edict  that  the  Catholic  Church  must  return  to 
the  use  of  the  Gregorian  Chant.  Don  Lorenzo  Perosi  (1872),  the 
director  of  the  Papal  Choir,  has  written  many  masses  in  the  style  of 
Palestrina,  yet  with  modern  expression,  which  have  proved  that  reli- 
gious music  should  be  regarded  as  apart  from  the  Operatic  School. 

In  opera  the  most  famous  names  since  Verdi  are :  Pietro  Mas- 
cagni  (1863),  whose  "Cavalleria  Rusticana'  has  never  been  equaled 
in  popularity  by  any  of  his  later  works. 


DON     LORENZO     PEROSI 


The     History     of     Music 

Ruggiero  Leoncavallo  (1858),  whose  great  work  is  "I  Pagliacci." 
Giacomo  Puccini  (1858),  who  is  the  greatest  composer  of  opera  in 
Italy  to-day;  his  best  works  are  "Tosca,"  "La  Boheme,"  "Manon," 
"Madame  Butterfly"  and  "The  Girl  of  the  Golden  West." 

Ermanno  Wolf-Ferrari  (1876),  "The  Secret  of  Suzanne,"  "The 
Curious  Women,"  and  "The  Jewels  of  the  Madonna,"  have  already 
placed  their  composer  high  in  the  ranks  of  modern  opera  writers. 

ILLUSTRATIONS 

88029     Prologue — "  I  Pagliacci  "     (Leoncavallo)  Antonio  Scotti 

60074     Intermezzo — "  Cavalleria  Rusticana  "     (Mascagni) 

Victor  Herbert's  Orchestra 
89008     Duet  of  the  Flowers  ("Madame  Butterfly")  Farrar  and  Homer 

35270     Intermezzo — "  Jewels  of  the  Madonna/'      Victor  Concert  Orchestra 

HINTS  FOR  TEACHERS 

Review  the  style  of  the  church  music  in  Italy  before  the  birth 
of  opera.  Have  class  realize  how  the  opera  has  developed.  Review 
Lesson  XIX,  Course  II.  These  selections  have  been  chosen  to  show 
the  instrumental  development  which  is  noticeable  in  the  modern 
opera  of  the  greatest  of  the  present-day  Italians. 

QUESTIONS 
What  voices  do  you  hear  in  the  third  selection?    Which  number 
is  used  in  place  of  an  orchestral  introduction?     What  is  a  prologue? 
Which  instrumental  number  expresses  religious  feeling? 

CHORUSES 

The  Miserere,  "11  Trovatore"  (Verdi). 
Anvil  Chorus,  "II  Trovatore"  (Verdi). 

Beautiful  Springtime — Home  to  our  Mountains,  "II  Trovatore" 
(Verdi). 


Lesson  XXVII 

Music  in  France 

Since  the  time  of  Berlioz,  the  French  School  has  been  identified 
with  both  the  Instrumental  and  Operatic  Schools. 

The  true  founder  of  the  Modern  French  School  was  Cesar 
Franck   (1822-1890),  whose  entire  life  was  given  to  the  cause  of  de- 


The     H  i  s  I  o  r  y     o  f     Music 


CESAR     FRANCK 


veloping  French  instrumental  music. 
Franck  wrote  many  chamber  composi- 
tions; works  for  t lie  organ  and  piano; 
symphonies;  symphonic  poems;  and 
many  beautiful  songs.  His  choral 
works  rank  very  high,  the  greatest  be- 
ing "The  Beatitudes,"  which  is  con- 
sidered one  of  the  finest  oratorios  since 
Mendelssohn. 

Franck 's  style  of  composition  is 
based  on  the  polyphonic  forms  of  Bach, 
but  all  his  music  is  filled  with  a  mystic 
poetry,  which  makes  his  works  imper- 
sonal and  somewhat  vague. 
The  most  prominent  of  Franck 's  pupils  who  have  carried  on  his 
ideals  are : 

Vincent  d'Indy  (1851-         ),  a  devoted  follower  of  Franck,  who 
has  at  the  same  time  acknowledged  his  allegiance  to  Richard  Wagner. 
Ernest  Chausson  (1855-1899). 
Alexis  Chabrier  (1842-1894). 
Alfred  Bruneau  (1857-         ). 
Cecile  Chaminade  (1861-         ). 
Gabriel  Faure  (1845-         ). 

The  three  great  organists  of  modern  France  are  also  followers  of 
Franck.    They  are : 

Alexandre  Guilmant  (1837-1910). 
Theodore  Dubois  (1837-         ). 
Charles  Widor  (1845-         ). 
In    the   opera   the   greatest    composers 
since  Gounod  are : 

Georges  Bizet  (1838-1875),  who  wrote 
"Carmen." 

Jules  Massenet  (1842-1912),  a  most 
prolific  writer,  whose  "Thai's,"  "Werther" 
and  "Jongleur  de  Notre  Dame"  are  very 
popular. 

Gustave  Charpentier  (1860-  ),  whose 
opera,  "Louise,"  is  a  distinctly  French 
work. 

CECILE     CHAMINADE 


122 


The     History     of     Music 


Alfred  Bruneau  (1857-         ),  a  champion  of  realism  in  opera. 

The  Dean  of  the  French  School  to-day  is  Camille  Saint-Saens 
(1835-        ■),  who  has  written  in  all  forms;  compositions  for  the  piano 
and   organ;   chamber   compositions; 
symphonies,     concertos     and     sym- 
phonic poems  for  orchestras;  operas 
and  oratorios. 

The  most  unique  genius  of  the 
present  day  is  Claude  Debussy 
(1862),  whose  rare  combinations  of 
instrumental  effects  are  absolutely 
original  in  the  world  of  music.  An 
impressionist  in  tone,  Debussy  veils, 
as  it  were,  all  his  forms,  with  a 
blending  of  tonal  combinations  as 
original  as  they  are  beautiful.  De- 
bussy has  returned  to  the  old  Greek 
science  of  the  tonal  relationship  of 
the  tetrachord.  He  is  one  of  the 
greatest  musical  mysteries  of  the 
present  day. 

Debussy's  followers,  Maurice  Eavel  and   Paul   Dukas,   are  also 
worthy  of  mention  for  their  unique  tonal  combinations. 


CAMILLE     SAINT-SAENS 


ILLUSTRATIONS 

35019  Marche  Heroi'que     (Saint-Saens) 

70040  The  Flatterer     (Chaminade) 

85020  Les  Rameaux     (Jean  Baptiste  Faure  ) 

5865  En  Bateau     (Debussy) 


Pryor's  Band 

Frank  La  Forge 

Pol  Plancxm 

Charles  Gilbert  Spross 


HINTS  FOR  TEACHERS 

Speak  of  the  Modern  School  of  Impressionism  in  France  to-day, 
which  makes  itself  manifest  in  the  literature  and  art  of  the  day.  This 
is  the  same  idea  which  is  reflected  in  Debussy's  music. 

QUESTIONS 
"What  religious  custom  does  the  third  selection  reflect?     Is  this 
a  baritone  or  bass  voice?    How  does  this  voice  compare  with  that  voice 
heard  in  the  Prologue  in  the  last  lesson?     Contrast  the  first  and  third 
selections. 


12:? 


The     History     of     Music 

CHORUSES 
Morning  Songs,  "Samson  and  Delila"  (Saint-Saens), 
Praise  Ye  the  Lord  (Saint-Saens). 
The  Vesper  Hour  (Cesar  Franck). 
With  Flowers  of  the  Best  (Massenet). 


Lesson  XXVIII 

Music  in  England 

England  has  been  little  regarded  as  a  musical  nation,  for  no 
great  genius  of  the  rank  of  those  in  Italy,  France  or  Germany,  is  to 
be  found  in  this  country  between  the  eighteenth  and  twentieth  cen- 
turies. 

That  there  was  a  remarkable  school  of  music  in  England  as  early 
as  the  thirteenth  century  is  known  definitely,  for  we  have  as  proof 

the  famous  six-part  canon, 
"Sumer  is  Icumen  in";  but 
the  free  expression  of  musical 
thought,  which  was  born  with 
the  opera  in  Florence,  was  seri- 
ously handicapped  in  England 
by  the  Civil  Wars  of  the  seven- 
teenth century,  and  the  attitude 
of  the  Puritans  under  Cromwell. 
The  English  dramatic  form 
of  the  seventeenth  century  was 
known  as  the  Masque,  and  the 
most  prominent  names  of  Eng- 
lish composers,  who  contributed 
to  this  form  of  music,  are :  Wil- 
liam Lawes  (1613-1645),  who 
wrote  the  music  of  Milton's 
"Masque  of  Comus";  Henry  Lawes  (  -1662),  his  brother;  Pelham 
Humphrey  (  -1674),  a  pupil  of  Lully  in  France;  and  Henry  Pur- 
cell  (1658-1695) ,  the  last  great  English  composer  until  our  present  day. 
At  the  time  of  Handel  an  English  "Singspiel."  commonly  known 
as  the  "Ballad   Opera,"  made   its   appearance.      It   was  an   inferior 


SIR    HENRY    ROWLEY    BISHOP 


124 


The     History     of    Music 

form  of  Opera  Buffa  and  really  retarded  the  progress  of  serious  oper- 
atic work.     Yet  several  well-known  English  musicians  are  associated 
with  this  form,  among  them  being  Henry  Carey  (         -1743),  said  to 
be    composer    of    "God    Save    the 
King";    and    Thomas   Arne    (1710- 
1778),  who  wrote  operas,   oratorios 
and  many  songs,  some  of  his  settings 
of    Shakespeare    being    remarkable 
for  their  beauty.     Sir  Henry  Row- 
ley Bishop  (1786-1855)  was  a  popu- 
lar composer  of  the  ' '  Ballad  Opera. ' ' 

The  great  personal  popularity 
of  Handel  in  England  is  noticed  in 
the  growth  of  organ  playing  and  ora- 
torio writing  since  his  day. 

In  the  early  nineteenth  century, 
England  was  greatly  influenced  by 
the  advent  of  Mendelssohn,  who  en- 
joyed great  popularity  there.  Fes- 
tivals were  established  in  many  cit- 
ies at  this  time,  and  the  writing 
of  oratorios,  part  songs,  cantatas  and  operas  was  encouraged.  But 
Costa  (d.  1881),  Julius  Benedict  (1804-1885),  Tosti  (1846-1912), 
Alberto  Randegger  (1832-1912),  and  Ciro  Pinsuti,  were  not  English 
by  either  birth  or  education.  The  greatest  composer  of  this  time  was 
Michael  Balfe  (1808-1870),  an  Irishman,  who  wrote  some  excellent 
operas  and  operettas,  his  most  famous  work  being  the  "Bohemian 
Girl." 

The  late  nineteenth  century  has  seen  the  advent  of  a  number  of 
talented  English  musicians,  including  Arthur  Sullivan  (d.  1900), 
Arthur  Goring  Thomas  (1850-1892),  Alexander  Mackenzie  (b.  1847), 
Charles  Hubert  Parry  (b.  1848),  Frederic  Cowen  (b.  1852),  diaries 
Villiers  Stanford  (b.  1852),  and  Edward  German   (b.  1862). 

There  are,  however,  but  two  great  composers,  who  to-day  may 
be  considered  unique  in  the  English  School:  Coleridge-Taylor  and 
Edward  Elgar.  Samuel  Coleridge-Taylor  (1875-1912),  was  an  Eng- 
lish negro,  whose  development  of  negro  melodies  has  made  a  lasting 
impression.  His  best-known  large  work  is  his  setting  of  "Hiawatha." 
Edward  Elgar  (b.  1857)  now  stands  in  the  first  rank  of  modern  com- 


SIR    EDWARD    ELGAS 


PROF.    GRANVILLE 
BANTOCK 


125 


The     History     of     Music 

posers.  He  has  already  written  several  remarkable  symphonies,  con- 
certos and  instrumental  compositions,  while  his  choral  works,  "Car- 
actacus"  and  "The  Dream  of  Gerontius"  are  regarded  as  the  great- 
est oratorios  which  have  been  given  the  world  sinee  the  time  of 
Mendelssohn. 

ILLUSTRATIONS 

74109  Come  Into  the  Garden,  Maud  (Tennyson-Balfe)  Evan  Williams 
64151     Rolling  Down  to  Rio     (Kipling-German)  Herbert  Witherspoon 

74306     Onaway,  Awake,  Beloved — "Hiawatha's  Wedding  Feast" 

(Coleridge-Taylor)  George  Hamlin 

35247     Pomp  and  Circumstance  March     (Elgar)  Pryor's  Band 

17190     The  Arrow  and  the  Song      (Pinsuti)  Alan  Turner 


SAMUEL     COLERIDGE-TAYLOR 


HINTS  FOR  TEACHERS 

Have  class  notice  the  poems  of 
Shakespeare,  Scott,  Milton  and  Tenny- 
son which  have  been  set  to  music.  A 
point  should  be  made  of  Coleridge- 
Taylor's  use  of  negro  and  Indian 
legends  and  themes. 

QUESTIONS 

What  type  of  song  is  the  first  selec- 
tion? Is  the  second  an  example  of  folk 
song,  art  song  or  ballad?  What  voice 
sang  the  first  record? 


CHORUSES 

Welcome  to  Spring  (Purcell). 

Then  You'll  Remember  Me,  from  "Bohemian  Girl"  (Balfe). 
I    Dreamt    I    Dwelt    in    Marble    Halls,    from    "Bohemian    Girl1 
(Balfe). 

With  Sheathed  Sword,  from  "Damascus"   (Costa). 

Zion,  Awake  (Costa). 

Lost  Chord  (Sullivan). 

My  Love  Dwelt  in  a  Northern  Land  (Elgar). 

The  Vikings  (Failing). 

The  Miller's  Wooing  (Faning). 

Blow,  Gentle  Gales  (Sir  Henry  Bishop). 


126 


EDWARD    MAC  DOWELL 


The     History     of     Music 

Lesson  XXIX 

American  Music 
It  must  be  frankly  acknowledged  that  although  we  have  man;y 
excellent  musicians  and  composers  in  America,  we  have,  as  yet,  no 
definite  American   School  of  Music.     America  has  been  settled  by 
men  of  all  nations,  and  the  musical  knowl- 
edge of  the  American  musician  has  been 
an   imported  article,   brought  from   Ger- 
many,   France    or    Italy.      Through    the 
gradual  growth  of  an  appreciation  of  the 
best  in  music,  which  is  now  coming  to  be 
an  important  feature  of  education  in  our 
public  schools,  the  time  is  not  far  distant 
when  we  may  hope  for  a  truly  individual 
school  in  America. 

We  have  seen  in  our  chronological 
study  that  while  European  schools  of 
music  were  giving  us  our  greatest  instru- 
mental and  operatic  works,  America  was 
still  struggling  to  gain  her  political  freedom  and  to  establish  her  form 
of  government.  Lowell  Mason  introduced  music  into  the  public  schools 
in  1836,  but  it  was  not  until  1867  that  the  first  special  schools  for 

music  study  were  established ;  since  that 
day  the  interest  in  the  art  has  grown  with 
remarkable  strides.  Choral  organizations 
have  been  established  throughout  the  coun- 
try, which  have  aided  largely  in  a  broader 
knowledge  and  appreciation  of  the  larger 
forms  of  music. 

Through  the  influence  of  the  great 
orchestra  conductor,  Theodore  Thomas, 
who  devoted  his  life  to  giving  the  best 
orchestral  music  to  the  American  people, 
many  cities  throughout  the  country  now 
possess  symphony  orchestras,  which  rank 
george  w.  chadwick  among  the  best  in  the  world.*    The  Metro- 

*  The  most  noted  symphony  orchestras  are  the  Thomas  Orchestra,  Chicago;  New  York  Phil- 
harmonic Orchestra,  New  York;  the  Damrosch  Orchestra,  New  York;  the  Boston  Symphony 
Orchestra,  the  Philadelphia  Symphony  Orchestra,  the  Cincinnati  Symphony  Orchestra,  the 
Minneapolis  Symphony  Orchestra,  the  San  Francisco  Symphony  Orchestra,  the  St.  Louis  Sym- 
phony.Orchestra,  the  Seattle  Symphony  Orchestra. 


127 


The     H  i  s  t  o  r  y     of     Musi  c 


128 


The     History     of    Music 

politan  Opera  Company,  of  New  York,  as  well  as  the  Boston  and  Chi- 
cago Opera  Companies,  are  outranked  by  none  in  Europe,  and  for 
many  years  American  singers  and  instrumentalists  have  appeared 
with  great  success  in  all  the  countries  of  the  world. 

The  prizes  which  The  Federation  of  Musical  Clubs  is  now  offer- 
ing to  American  composers,  and  the  competition  for  American  Operas, 
which  the  Metropolitan  Opera  Company  has  instituted,  will  be  of 
great  aid  in  encouraging  native  American  composition. 

It  has  often  been  remarked  that  the  American  composer  has  a  rich 
field  of  folk  music  in  the  songs  and  dances  of  the  Indians,  the  Negroes 
and  the  Creoles,  and  much  of  this  material  has  attracted  the  atten- 
tion of  the  European  composers  as  well  as  those  of  America. 

The  greatest  American  composer,  who  has  won  an  international 
reputation,  was  Edward  MacDowell  (1861-1908).  MacDowell  was  a 
devoted  student  of  American  music  and  in  several  of  his  large  works 
incorporated  Indian  themes.  He  was  a  modern  disciple  of  program 
music  and  even  when  not  telling  a  definite  story,  the  formal  con- 
struction of  his  music  was  always  subservient  to  poetic  thought. 

The  Dean  of  American  composers  was  John  Knowles  Paine 
(1839-1906),  who  was  for  many  years  the  Director  of  Music  at  Har- 
vard University.  George  W.  Chadwick  (1854),  Arthur  Foote  (1853), 
Frederick  Converse  (1871),  Charles  M.  Loeffier  and  Mrs.  H.  H.  A. 
Beach,  are  Boston  composers  who,  one  may  rightly  say,  are  outgrowths 
of  the  Paine  School. 

Other  American  composers  are  Walter  Damrosch  (1862),  Ethel- 
bert  Nevin  (1862-1901),  who,  as  a  writer  of  graceful  songs  and 
short  piano  compositions  showed  a  rare  individuality;  and  Victor  Her- 
bert, who  although  a  native  of  Dublin,  has  won  much  fame  in  the 
United  States  as  a  conductor  and  composer  of  tuneful  comic  operas. 
His  grand  opera,  "Natoma"  (1910),  is  an  interesting  use  of  Indian 
music. 

Horatio  Parker  (1863)  must  be  regarded  as  perhaps  the  foremost 
American  composer  of  to-day.  Mr.  Parker  is  at  present  Director  of 
Music  at  Yale  University.  Ho  won  his  first  laurels  with  his  great 
(moral  work.  "Hora  Novissima."  His  opera,  "Mona,"  which  won 
the  prize  offeror!  by  the  Metropolitan  Company,  was  produced  in 
March,  1912.  and  entitles  Mr.  Parker  to  the  front  rank  in  musical 
Ameriea  to-day.* 

*  Other  American  oomnosers  who  are  helping  to  develop  music  in  Ameriea  are:  Howard 
Broekway,  Arthur  Farwell,  Henry  K.  Hidlov   Hen-'   Holden  Huss  and  Edgar  Stillman  Kelly. 

12? 


The     History     of     Music 

ILLUSTRATIONS 

f  (1)  At  an  Old  Trysting  Place     (MacDowell) 
60053  Victor  Herbert's  Orchestra 

I  (2)  To  a  Wild  Rose     (MacDowell)  Victor  Herbert's  Orchestra 

64102  Little  Boy  Blue     (Eugene  Field-Ethelbert  Nevin)         Evan  Williams 

87026  The  Year's  at  the  Spring     (Beach)  Mme.  Gadski 

35285  Danny  Deever     (Kipling-Damrosch)  Percy  Hemus 

70049     Dagger  Dance     (From  "Natoma ")     (Herbert) 

Victor  Herbert's  Orchestra 

HINTS  FOR  TEACHERS 

Have  class  review  the  great  periods  of  American  History  and 
tell  what  great  composers  lived  in  European  countries  at  that  time. 

QUESTIONS 

Which  compositions  are  program  music?  Which  is  national 
expression?  Why?  Which  represents  poetic  thought?  Which  song 
reflects  tragedy?  In  which  selection  is  the  joy  of  nature  expressed? 
Which  song  depicts  grief? 

CHORUSES 

O,  Captain,  My  Captain  (Walt  Whitman-Edgar  Stillman  Kelly). 
Break,  Break,  Break  (Tennyson-Neidlinger). 
Blow,  Bugle,  Blow  (Tennyson-Neidlinger). 

Build  Thee  More  Stately  Mansions  (Arthur  Farwell).  Zuni 
Indian  Melodies. 

Freedom,  Our  Queen  (Holmes- John  K.  Paine). 

Song  of  the  Ghost  Dance  (Zuni  Melodies,  arr.  by  Farwell). 


Lesson    XXX 

Review 

Write  on  the  blackboard  the  following  compositions  which  have 
been  heard  during  the  year.  Have  pupils  copy  these  on  paper,  adding 
the  nationality  and  school  of  each  composer,  the  period  in  which  he 
lived,  century  to  which  he  belonged,  and  the  form  of  each  composi- 
tion, thus: 

130 


The     History     of     Music 

Erl  King;  Schubert;  German;  Romantic  School;  early  nine- 
teenth century ;  song  in  form  of  Art  Ballad ;  represents  program 
music ;  sung  by  Schumann-Heink. 

Carnaval  Romain  Overture Berlioz 

Lohengrin's  Narrative    Wagner 

En  Bateau   Debussy 

Gavotte,  E  Major Bach 

Largo  al  Factotum,  "Figaro" Rossini 

Overture,  Leonore  No.  3 Beethoven 

Toreador   and    Andalouse Rubinstein 

Hungarian  Rhapsody  No.  2 Liszt 

Norwegian  Wedding  March Grieg 

Largo  from  ' '  Xerxes  " Handel 

Finale,  "Pathetique"  Symphony Tschaikowsky 

Overture,  ' '  Midsummer  Night 's  Dream  " Mendelssohn 

Overture,   ' '  Bartered   Bride  " Smetana 

Overture,  "Der  Freischutz" von  Weber 

Aria,  Fatal  Divinita,  "Alceste" Gluck 

Largo,  Fifth  Symphony Dvorak 

Mazurka,  Op.  15 Chopin 

Aria,  "Titus"   Mozart 

HINTS  FOR  TEACHERS 

This  may  be  used  in  lieu  of  an  examination,  or  for  a  verbal 
review.  A  review  by  centuries  is  also  a  good  plan.  If  this  is 
adopted,  use  Lesson  I  with  illustrations  chosen  from  records  used 
in  the  course.  Another  excellent  plan  is  for  the  History  Class  to 
choose  some  members  to  represent  them  to  give  a  short  talk  on  each 
period  of  musical  history,  with  two  records  for  illustration  of  each 
period.     This  could  be  done  for  a  special  exhibition  music  day. 


T  h 


II  i  s  t  o  r  v      o  /     J\I  u  s  i  c 


132 


The  Orchestra 


COURSE  III 

"Preface 

In  studying  "The  Orchestra  and  Its  Instruments"  with  your 
class,  try  to  make  them  feel  the  importance  of  a  knowledge  of  the 
various  instruments  and  their  functions  in  the  orchestra.  Our  greatest 
future  development  of  instrumental  music  in  America  rests  with  the 
Student  Orchestras  to  be  found  in  the  High  Schools  and  Colleges.  It 
is  to  aid  the  students  toward  a  clearer  appreciation  of  the  value  of 
each  individual  instrument  that  this  course  has  been  planned. 

In  studying  the  individual  instrumental  voices  it  is  suggested 
that  the  members  of  the  student  orchestra-  illustrate  each  instrument 
before  its  voice  is  heard  in  the  Talking  Machine.  The  same  records 
will  be  used  several  times  to  illustrate  different  instruments  and 
combinations.  This  course  should  be  used  as  a  supplementary  course 
to  the  History  of  Music,  and  a  review  of  all  the  composers  and  compo- 
sitions studied  should  be  carefully  carried  out  each  week.  The  last 
ten  lessons  are  devoted  to  a  development  of  instrumental  forms  and 
these  lessons  must  be  correlated  with  the  History  of  Music. 

This  course  is  divided  into  thirty  lessons,  as  follows : 
I.     Review. 
II.     The  Orchestra.     Its  Divisions. 

III.  The  String  Choir. 

IV.  The  Violin. 
V.     The  Viola. 

VI.  The  Violoncello. 

VII.  The  Double  Bass. 

VIII.  The  Violin  and  'Cello. 

IX.  The  Voice  in  Combination  with  Violin  and  'Cello. 

X.  The  String  Quartet. 

XL  The  Harp. 

XII.  The  Technical  Mechanism  of  Wind  Instruments. 

XIII.  The  Wood-Wind  Choir. 

XIV.  The  Flute— The  Piccolo  Flute. 
XV.  The  Oboe— The  English  Horn. 

XVI.     The  Clarinet. 
XVII.     The  Bassoon. 


T  h  e     O  r  c  h  e  s  t  r  a 

XVIII.  The  Brass  Choir. 

XIX.  The  French  Hon.. 

XX.  The  Trumpet  or  Cornet. 

XX T.  The  Trombone. 

XXII.  The  Tuba. 

XXIII.  The  Percussion  Instruments. 

XXIV.  The  Development  of  the  Orchestra. 
XXV.  The  Orchestra  at  the  Time  of  Bach. 

XXVI.  The  Orchestra  at  the  Time  of  Haydn. 

XXVII.  Beethoven's  Uses  of  the  Orchestra. 

XXVIII.  The  Influence  of  Romantic  School. 

XXIX.  The  Influence  of  Wagner. 

XXX.  The  Orchestra  Since  Wagner. 

CHORUSES  SUGGESTED 

Since  Course  III  deals  with  the  orchestra  and  its  instruments, 
it  is  obvious  that  choruses  may  not  be  definitely  fitted  to  each  lesson, 
as  in  the  two  previous  Courses.  This  Course  is  designed  to  be  par- 
ticularly helpful  in  stimulating  interest  in  the  student  orchestras 
which  should  be  a  part  of  the  music  activities  of  every  High  School. 
It  is  therefore  suggested  that  for  this  year  the  choruses  should  be 
largely  those  of  more  ambitious  type,  having  orchestral  accompani- 
ments, so  that  the  student  orchestra  may  become  an  integral  part 
of  the  work.  The  orchestration  of  these  choruses  and  many  others 
may  be  obtained  from  music  publishers.  It  is  also  suggested  that 
some  complete  work,  cantata  or  operetta,  be  studied  in  this  year. 
These  all  have  orchestra  accompaniments,  and  will  form  a  splendid 
complement  to  tho  lessons  in  the  Course. 

Almighty  Lord — Prayer  from  "Cavalleria  Rusticana"  (Mas- 
cagni). 

A  Merry  Life  (Denza). 

Ave  Maria  (Gounod). 

Baal,  We  Cry  to  Thee  "Elijah"  (Mendelssohn). 

Blue  Danube  Waltz  (Strauss). 

By  Babylon 's  Wave  (Gounod). 

Daybreak  (Faning). 

Estudiantina  (Lacome). 

Gloria  from  Twelfth  Mass  (Mozart). 

How  Lovely  are  the  Messengers  (Mendelssohn). 

In  Old  Madrid  (Trotere). 

Jerusalem  "Gallia"  (Gounod). 

134 


The     Orchestra 

My  Love  Dwelt  in  a  Northern  Land   (Elgar). 

0,  For  the  Wings  of  a  Dove  (Mendelssohn). 

0  Italia  Beloved  (Donizetti). 

0  Thou  Sublime  Sweet  Evening  Star  (Wagner 

Sing,  Smile,  Slumber  (Gounod). 

Soldiers'  Chorus,  "Faust"  (Gounod). 

The  Dove  (La  Paloma)    (Yradier). 

The  Vikings  (Failing). 

Unfold  Ye  Portals,  "Redemption"   (Gounod). 

Waltz  from  "Faust"  (Gounod). 

Wedding  March  from  "Lohengrin"   (Wagner). 

CANTATAS  SUGGESTED. 

Building  of  the  Ship  (Lahee). 

Crusaders  (Gade). 

Erl  King's  Daughter  (Gade). 

Fair  Ellen  (Max  Bruch). 

Gallia  (Gounod). 

Joan  of  Arc  (Gade). 

King  Rene's  Daughter  (Smart). 

Lady  of  Shalott,  The  (Tennyson-Bendall). 

Melusina  (Hoffman). 

Rose  Maiden  (Cowen). 

Ruth  (Gaul). 

Wreck  of  the  Hesperus  (Anderton). 


Lesson  I 

Review 


In  Course  I  we  learned  that  there  were  four  fundamental  prin- 
ciples of  music  which  represented  Nationality,  Form,  Poetic  Thought 
and  Program  Music.  We  heard  these  principles  as  expressed  by  the 
instruments,  and  also  by  the  medium  of  individual  voices,  in  solo  as 
well  as  in  concerted  music.  We  found,  as  our  study  progressed,  that 
national  feeling  is  the  foundation  on  which  all  music  really  rests  and 
we  carefully  studied  the  music  of  the  various  nations  and  found  what 
each  contributed  to  the  development  of  modern  music. 

135 


T  h  e     0  r  c  h  e  s  t  r  a 

In  Course  II  we  followed  the  historical  development  of  music's 
growth  from  the  ancient  days  to  our  present  schools  of  music. 

Id  Course  111  we  shall  take  up  in  detail  a  study  of  the  instru- 
ments of  the  orchestra  and  the  development  of  the  largest  instrumental 
forms  of  musical  literature. 


31819 
60074 
70049 


ILLUSTRATIONS 
Overture — "A  Midsummer  Night's  Dream 

Intermezzo — "Cavalier ia  Rusticana" 


(Mendelssohn) 
Victor  Concert  Orchestra 
(Mascagni) 

Victor  Herbert's  Orchestra 


Dagger  Dance  from  "  Natoma  "     (Herbert) 

Victor  Herbert's  Orchestra 

QUESTIONS 

Which  composition  tells  a  story  .'  What  forms  are  found  in  these 
works?  When  did  Mendelssohn  live?  To  what  school  did  he  belong? 
What  school  does  Herbert  represent?  Is  the  Dagger  Dance  "na- 
tional" music?  Which  period  of  national  music  does  it  represent, 
the  folk  dance,  legendary  folk  song,  patriotic  song  or  national  com- 
position? What  national  characteristics  are  reflected  in  this  music? 
What  composition  tells  a  story?     Which  represents  religious  feeling? 


Lesson  II 

The  Orchestra 

The  Symphony  Orchestra  of  to-day.    Its  divisions 

First  Violins. 
Second  Violins. 
Violas. 
Violoncellos. 
Double  Basses. 

t:,,    ,      (  Flute. 
Flutesi  Piccolo. 


Strings  " 


"  Wood-Winds" 


Double  Reeds 


Oboe. 

English  Horn. 
Bassoon. 
Contra-Bassoon. 

J  Clarinet. 


Single  Reeds       ^^-  . 

(  Bass  Clarinet 


136 


1  he      Or  c  h  e  s  t  r  a 

I  French  Horns.* 

Brasses "   I  Trumpets. 

)  Trombones. 
Tuba. 


"  Battery  "  or  Percussion 


Tympani  or  Kettle  Drums. 

Side  Drums. 

Bass  Drum. 

Bells. 

Triangle. 

Tambourine,  etc. 


ILLUSTRATIONS 

35236     Instruments  of  the  Orchestra 

(a)  The  String  Choir  Victor  Orchestra 

(b)  The  Wood-Wind  Choir  Victor  Orchestra 

35237 ^  ^  The  Brass  Choir  Victor  Orchestra 

1  (b)  The  Percussion  Instruments  Victor  Orchestra 

QUESTIONS 

Which  instrument  of  the  "strings"  has  the  deepest  tone?  Which 
has  a  voice  more  similar  to  that  of  a  human  being  ?  Which  instrument 
of  the  wood-winds  has  the  fullest  tone  ?  What  wood-wind  instruments 
do  we  hear  in  a  brass  band?    Why? 

TABLE  OF  TRANSPOSING  INSTRUMENTS 

Instruments  Giving  a  Tone  Different  from  the  Written  Note 

Double  Bass  :    Sounds  an  octave  lower  than  the  music  is  written. 

Piccolo  :  Flute  :  Sounds  an  octave  higher  than  the  music  is 
written. 

English  Horn  :  Clarinet  :  All  clarinets  except  that  in  the  key 
of  C. 

Contra  Bassoon  :  Sounds  an  octave  lower  than  the  music  is 
written. 

French  Horns:     All  French  horns  except  that  in  the  key  of  C. 

Trumpets  or  Cornets:    All  except  those  in  the  key  of  C. 

Tuba. — Sounds  an  octave  lower  than  the  music  is  written. 


*  The  French  horn,  by  reason  of  its  beautiful  tone  quality,  is  frequently  used  as  a  member  of 
the    '  wood-winds." 

The  harp  belongs  to  no  particular  division  of  the  orchestra. 

137 


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The  String  Choir 

The  string  choir  is  called  the  "string  quartet,"  but  this  is  a 
misnomer,  as  we  find  in  our  orchestras  today  the  four  instruments 
comprising  this  group  are  divided  into  five  parts  which  may  be  classi- 
fied as : 

1st  Violins,  Soprano. 

2d  Violins,  Mezzo-Soprano. 

Violas,  Alto  (sometimes  tenor). 

Violoncellos,  Tenor  (sometimes  baritone). 

Contra  bass,  Basso. 

The  "'strings"  arc  the  most  important  instruments  iu  the  orches- 
tra, and  for  this  reason  they  are  given  the  best  position  in  the 
seating  o['  the  players.  The  strings  are  in  truth  the  "backbone"  of 
the  orchestra,  as  they  can  play  for  any  reasonable  Length  of  time  with- 
out greatly  fatiguing  the  performer,  whereas  the  "wind"  instruments 
being  dependable  on  the  breath  of  their  players  have  to  be  given  con- 
stant opportunities  for  rest.     As  the  strings  iu  reality  give  the  true 

138 


The     Orchestra 

strength  to  the  orchestra,  it  will  be  noted  that  there  are  many  more 
members  in  this  section  than  to  be  found  in  the  "wood-wind"  or 
"brass"  divisions. 

Berlioz  tells  us  "the  strings"  possess,  when  played  together, 
"force,  lightness,  grace,  accents  both  gloomy  and  gay,  thought  and 
passion."  He  further  says,  "Slow  and  tender  melodies,  confided  too 
often  to  the  wind  instruments,  are  nevertheless  never  better  rendered 
than  by  a  mass  of  violins.  Nothing  can  equal  the  touching  sweetness 
of  a  score  of  first  violins  made  to  sing  by  twenty  well-skilled  bows. 
That  is,  in  fact,  the  true  woman's  voice  of  the  orchestra — a  voice  at 
once  passionate  and  chaste,  heart-rending,  yet  soft,  which  can  weep, 
sigh,  lament,  chant,  pray  and  muse,  or  burst  forth  into  joyous  accents, 
as  none  other  can  do." 

One  must  remember  that  the  effect  of  a  body  of  strings  playing 
together,  is  as  different  from  the  voice  of  the  single  instrument  or  the 
quartet,  as  is  the  amount  of  the  tone. 

ILLUSTRATIONS 

74135     Meditation  ("Thai's")  (Massenet)  (Solo  Violin)  Maud  Powell 

16371     Spring  Song     (Mendelssohn)  Victor  String  Quartet 

31779     Vorspiel    (Prelude)   ("Lohengrin")     (Wagner)      La  Scala  Orchestra 

QUESTIONS 
To  what  school  do  these  compositions  belong?     Which  paints  for 
us  a  picture  in  tone?     What  other  instruments  do  you  hear  in  the 
third  number,   besides   the   "strings"?     What   instruments   do   you 
hear  in  the  second? 


Lesson  IV 

The  Violin 

The  violin  is  usually  recognized  as  "The  King  of  the  Orchestra," 
and  as  Mr.  Henderson  so  well  expressed  it,  "is  the  prima  donna  of  the 
string  choir,  and  is  both  a  coloratura  and  a  dramatic  singer."  This 
instrument,  which  is  the  most  brilliant  of  the  old  viol  family,  was 
brought  to  its  technical  perfection  by  the  great  violin  makers  of 
Cremona,  who  flourished  from  the  middle  of  the  sixteenth  to  the  open- 
ing of  the  eighteenth  centuries.    The  instruments  known  as  "the  viols" 

139 


The     Orchestra 


COLLECTION    OF     PAUL    DE    WET,    LEIl'SIC 
1.  Marine  Trompettes,  <>r  "  Sun's  Piddle,'    an  instrument  hav-        5.  Viula  d'Amore  (au  obsolete  instrument),  possessing  a  sei  "t 

ins  bat  a  single  string.  vibrating  "  sympathetic  "  strings. 

•2.  Pochette,   or  "  Pocket  Fiddle,"  ol  the  French  dancing  mas-        tf.  Violoncello  iviola  da  gainbai. 

ters  of  the  seventeenth  century.  7.  Baritone   (the    viola    da    gamba    possessing    sympathetic 

::.  Violius.  strings). 

4.  Violas  alio  alto  viol).  8.  Doul.k-  Bass  (bass  viol). 

9.  Bass  Viol  with  sympathetic  strings. 

were  a  combination  of  the  old  rebec  (a  bowed  instrument  from  the 
far  East,  which  entered  Europe  at  the  time  of  the  Crusades),  and  the 
Crwth  (or  stringed  instrument)  of  the  Northern  minstrels.  There 
were  many  types  of  viol  made  during  the  seventeenth  century,  those 
retained  in  our  orchestra  today  are:  The  violin — old  treble  viol;  the 
viola — a  modernized  alto  viol  (viol  da  braccio)  ;  the  violoncello — viol 
d'gamba;  the  double  bass — bass  viol. 

The  violin  was  introduced  into  the  orchestra  by  Monteverde,  the 
Venetian  composer  of  the  seventeenth  century. 

There  are  many  tonal  effects  possible  to  the  violin : 

Tremolo — rapid  bowing  of  the  strings. 

Pizzicato — plucking  of  the  strings. 

Con  sordino — mute  placed  on  the  bridge,  giving  a  softened, 
veiled  effect  to  the  tone. 

Harmonics— "flageolet"  tones  or  "over-tones,"  heard  when 
strings  are  not  pressed  firmly  to  the  finger  board,  but  allowed  to 
vibrate  along  the  upper  portion  of  the  string. 

The  violins  in  the  orchestra  are  divided  into  two  groups,  the 
second  violins  playing  a  lower  part  than  the  first  violins,  and  thus 


140 


The     Orchestra 

connecting  the  chromatic  scale  from  the  first  violins  to  violas,   'cellos 
and  basses. 

ILLUSTRATIONS 

74163     Humoresque     (Dvorak)  Mischa  Elman 

,d.aal    (a)  Gavotte      (Gretry)  Mischa  Elman 

bqi  8 1    (b)  Tambourin      (Gossec)  Mischa  Elman 

74188     Der  Zephir     (Hubay)  Maud  Powell 


QUESTIONS 
What  effects 
do  yon  observe  in 
the  first  selection  ? 
With  what  ef- 
fect does  it  end? 
AVhat  effect  is  em- 
ployed noticeably 
in  the  second? 
AVhat  other  effects 
do  yon  observe 
here?  Towhat 
school  does  Dvorak' 
belong?  Hubay?  Gretry?  Gossec?  Which  composition  could  be 
designated  as  program  music?  Which  is  imitative?  Which  is  formal 
expression  ? 


ANTONIO     STRADIVARI 


L 


ess  on 


V 


The  Viola 

"The  viola  is  a  philosopher,  sad,  helpf ul ;  always  ready  to  come 
to  the  aid  of  others,  but  reluctant  to  call  attention  to  himself." 

Lavignac. 

The  viola  is  an  older  instrument  in  the  orchestra  than  the  violin, 
being  the  viola  da  braecio  ("arm  fiddle")  of  the  Venetians  of  the 
sixteenth  and  early  seventeenth  centuries. 

The  position  of  the  viola  in  the  modern  orchestra  is  of  great 
importance,  as  the  voice  of  the  instrument,  a  fifth  lower  than  that  of 
the  violin,  makes  it  possible  for  the  viola  to  be  used  as  the  alto,  or 
tenor,   of  our  string  choir,  as  occasion  shall  demand. 

All  the  effects  of  the  violin  are  to  be  observed  in  the  viola. 


The     Orchestra 

ILLUSTRATIONS 

35140     Serenade     (Schubert)     Violin  and  Flute  D'Almaine  and  Lyons 

31337     Serenade     (Titl)     Viola  and  Flute  Reschke  and  Lyons 

31763     Serenade     (Titl)     'Cello  and  Flute  Heine  and  Lyons 

HINTS  FOR  TEACHERS. 
Do  not  tell  the  class  which  record  they  are  to  hear  first.     After 
the  questions  are  answered,  it  will  be  well  to  play  the  second  again 
so  that  the  tone  quality  of  the  viola  is  clearly  distinguished. 

QUESTIONS 
Which  record  was  played  first?     Which  voice  more  nearly  re- 
sembles the  flute;  the  violin  or  viola?     Which  is  the  clearest,  most 
penetrating  in  quality,  the  violin  or  viola? 


Lesson  VI 

The  Violoncello 

The  violoncello  belongs  to  the  old  family  of  the  viols  of  the  six- 
teenth and  the  seventeenth  centuries,  being  the  viola  d'gamba  (or 
knee  fiddle)  of  that  day,  as  the  viola  was  the  viola  'bracca  (or  arm 
fiddle).  The  'cello  is  tuned  just  as  is  the  viola,  but  it  is  an  octave 
lower  in  pitch.  The  voice  of  the  'cello  is  a  deep,  full  tenor,  almost 
baritone,  in  the  quality  of  the  lower  tones;  in  fact,  in  olden  times  the 
'cello  was  used  as  the  bass  of  the  string  choir.  The  tone  of  the  'cello 
is  more  similar  to  that  of  the  human  voice  than  any  instrument  in  the 
orchestra.  The  same  effects  as  those  described  for  the  violin  (pizzi- 
cati,  tremolo,  etc.)  are  used  on  the  'cello;  although  the  instrument  is 
naturally  not  expected  to  show  as  great  agility,  in  rapid  passages,  as 
does  the  violin. 

ILLUSTRATIONS 
64046     Le  Cygne     (Saint-Saens)  Hollman 

64001     Ave  Maria     (orch.  ace.)     (Schubert)  Hollman 

HINTS  FOR  TEACHERS 
Call  attention  to  the  composers,  the  schools  they  represent,  etc., 
then  point  out  that  one  selection  is  with  piano  accompaniment;  one 
with  orchestra.    Do  not  tell  class  which  is  played  first. 

142 


The     Orchestra 

QUESTIONS. 

Which  composition  is  written  with  orchestral  accompaniment? 
What  instruments  are  noticeable  ?  What  effects  in  the  'cello  did  you 
observe  in  the  first  selection  ?  To  what  school  does  Schubert  belong  ? 
Saint-Saens  ? 


Lesson  VII 

Double  Bass 

The  patriarchial  double-bass  provides  the  foundation  for  the 
harmonic  structure  of  orchestral  music.  The  instrument  is  called  the 
double  bass,  because  it  was  used  in  early  times  to  double  the  bass  part 
of  the  violoncello.  Until  Beethoven's  day  little  was  known  of  the 
possibilities  of  the  instrument  which  now  became  an  important  indi- 
vidual voice  in  the  orchestra.  Yet  many  of  Beethoven's  contempo- 
raries looked  askance  at  his  innovations  and  even  at  the  time  of  Berlioz, 
the  great  French  master  of  instrumentation,  likened  the  famous 
passage  for  the  basses  in  Beethoven's  C  Minor  ("Fifth")  Symphony 
to  "the  happy  gambols  of  an  elephant."  An  equally  famous  use  of 
these  instruments  is  the  transitional  passage  between  the  third  and 
fourth  movements  of  Beethoven's  Ninth  Symphony.  The  double  bass 
is  a  transposing  instrument,  that  is,  an  instrument  whose  sound  is 
different  from  the  actual  written  notes.  The  double  bass  sounds  an 
octave  lower  than  the  music  for  which  it  is  written.  The  tremolo  on 
the  double  bass  is  most  dramatic  and  is  frequently  used  to  represent 
storm.  The  pizzicati  of  the  basses  is  frequently  used.  Harmonics, 
however,  are  rarely  employed  as  they  are  strident  and  harsh,  and 
are  only  introduced  for  grotesque  purposes,  or  in  occasional  composi- 
tions of  program  music.  Mutes  are  only  employed  by  the  most 
modern  composers. 

ILLUSTRATIONS 
70050     Marche  Slave     (Tschaikowsky)  Victor  Herbert's  Orchestra 

70070     Dance  of  the  Hours     ("La  Gioconda")     (Ponchielli) 

Victor  Herbert's  Orchestra 

HINTS  FOR  TEACHERS 

The  "Marche  Slave"  will  be  used  again  to  illustrate  the  depth  of 
quality   of   the   bassoons,    which   sing   the   opening   theme   with   the 

143 


The     Orchestra 

double  basses.  Let  class  distinguish  tone  color  of  the  stringed  instru- 
ments in  "Dance  of  the  Hours"  and  also  notice  the  use  of  the  wind 
instruments. 

QUESTIONS. 

To  what  schools  do  these  compositions  belong?  Which  is  from 
opera?  Which  is  national  music?  What  countries  are  represented 
by  these  two  composers?  Where  do  we  hear  the  double  basses  in  the 
first  selection? 


Lesson  VIII 

The  Tone  Quality  of  the  Violin  and  Violoncello  in  Combination 

To  fully  understand  the  difference  between  the  violin  and  'cello, 
listen  to  the  following  compositions: 

ILLUSTRATIONS 

35159     Spinning  Song     (Mendelssohn)     (Violin,  'Cello  and  Piano) 

Renard  Trio 
5754     Barcarolle     ("Tales  of  Hoffman")     (Offenbach)     (Two 

Violins,  'Cello  and  Piano)  Vienna  Quartet 

QUESTIONS 

Which  instruments  did  you  hear  in  first  selection  ?  What  is  the 
difference  between  a  duet,  trio,  quartet?  What  other  names  are 
given  to  combinations  of  instruments?  What  instruments  did  you 
hear  in  the  first?  The  second?  When  did  Mendelssohn  live?  What 
principles  does  the  first  represent?  From  what  work  is  the  second 
an  adaptation  ? 


Lesson  IX 

Combination  of  Violin  and' Cello  With  Voice 

We  have  heard  the  violin  and  the  violoncello  in  solo  and  combina- 
tion, let  us  hear  these  instruments  with  the  human  voice  and  see  if 
we  can  distinguish  them. 

144 


The     Orchestra 

ILLUSTRATIONS 

88014     Elegie     (Massenet)     'Cello  Obbligato  by  Josef  Hollman 

Emma  Eames 
87101     Elegie     (Massenet)     Violin  Obbligato  by  Efrem  Zimbalist 

Alma  Gluck 
45007     Romanza     ("  Les  Huguenots ")     (Meyerbeer)     (Viola  Obbligato) 

M.  Gautier 

HINTS  FOR  TEACHERS 

In  writing  this  program  on  the  blackboard  do  not  give  the  instru- 
ments which  play  the  obbligatos. 

QUESTIONS. 

What  voices  sing  these  selections?  Which  instrument  played  the 
obbligato  with  Mme.  Eames  ?  With  Mme.  Gluck  ?  With  M.  Gautier  ? 
What  instrumental  effects  did  you  hear  in  the  first?  In  the  second? 
In  the  third  ?  Does  the  obbligato  add  to  the  effect  of  the  solo  ?  When 
did  Massenet  live?     Meyerbeer?     What  school  does  each  represent? 


Lesson  X 

The  String  Quartet 

Compositions  written  for  a  grouping  of  a  few  instruments  are 
usually  designated  as  "Chamber  Music"  in  distinction  to  concert 
combinations. 

With  the  increased  proficiency  of  technique  on  the  stringed 
instruments  during  the  seventeenth  and  eighteenth  centuries,  we  find 
this  form  of  instrumental  music  becoming  popular  for  small  private 
concerts,  hence  the  term  "Chamber  Music." 

When  Haydn  was  called  to  the  Court  of  Esterhazy,  he  found 
that  beside  his  duties  as  Director  of  the  Concert  Orchestra,  he  was 
also  called  upon  to  provide  music  for  small  gatherings.  He  therefore 
chose  as  the  most  distinctive  instruments  two  violins,  viola,  and 
violoncello,  divided  thus : 

1st  Violin,  Soprano. 

2d  Violin,  Alto. 

Viola,  Tenor. 

Violoncello,  Bass. 

145 


The     Orchestra 

ILLUSTRATIONS 

16950     Gavotte     ("  Paris  and  Helena  ")     (Gluck)  Victor  String  Quartet 

16371     Spring  Song     (Mendelssohn)  Victor  String  Quartet 

QUESTIONS 

What  did  Haydn  do  for  instrumental  music,  besides  establishing 
the  string  quartet?  "Which  composition  belongs  to  the  Classical 
School?  Which  to  the  Romantic  School?  Which  is  from  opera? 
Which  represents  poetic  idea?  Which  instrumental  effects  are  notice- 
able ?    In  what  form  is  the  first  ?     The  second  ? 


Lesson  XI 

The  Harp 

We  shall  now  consider  the  harp,  although  this  instrument  is  of 
recent  introduction  in  our  orchestra  and  belongs  to  no  particular 
choir.  We  have  found  that  the  harp  is  a  very  primitive  instrument, 
being  used  in  the  ancient  days  as  the  national  instrument  of  Egypt 
and  also  by  the  Hebrews,  who  modeled  their  small  hand  harp,  or  lyre, 
from  the  instrument  used  by  the  Egyptians.  In  our  study  of  Folk 
Music  we  find  the  harp  one  of  the  most  popular  instruments  of  the 
people,  being  especially  noted  in  the  early  music  of  Ireland,  Scotland 
and  Wales.  Yet  it  is  rarely  found  in  our  orchestras  up  to  the  modern 
day. 

Many  great  composers  have  used  the  harp,  but  only  as  an  example 
of  lending  national  color  and  descriptive  expression.  Thus  where 
Biblical  or  classic  subjects  were  treated,  or  in  the  later  imitation  of 
folk  music,  the  harp  was  employed.  In  1810,  Sebastian  Erard  per- 
fected his  pedal  mechanism,  making  it  possible  for  the  harpist  to  play 
in  all  keys  where  before  but  a  few  were  practical.  It  is  not  until  the 
time  of  Berlioz  and  Wagner  that  the  harp  becomes  a  true  orchestral 
voice.  Wagner  first  used  it  to  depict  the  accompaniment  of  the 
singing  of  the  Minnesingers  in  "Tannhauser,"  but  later  discovering 
its  great  possibilities,  he  used  it  for  many  effects.  One  of  the  most 
striking  examples  of  Wagner's  use  of  the  harp  is  to  be  observed  in  the 
great  "Magic  Fire  Scene"  from  "The  Valkyries."  Now  the  harp  is 
much  used  by  symphony  writers  as  well  as  by  composers  of  opera. 

146 


The     Orchestra 

It  is  usually  treated  either  in  broad  effects  or  in  arpeggios.  The  fol- 
lowing are  the  most  characteristic  effects  of  the  harp  : 

Pizzicati — plucking  of  the  strings. 

Glissando — smooth  running  passages  produced  by  sliding  the 
hands  rapidly  over  the  strings. 

Harmonics — produced  by  "stopping"  the  strings  similar  to  the 
means  employed  in  violins;  this  tone  on  the  harp  sounding  like  the 
faint  tinkle  of  a  muffled  bell. 

ILLUSTRATIONS 

70031     Am  Springbrunnen  (The  Fountain)     (Zabel)  Ada  Sassoli 

70027     Priere  (Prayer)     (Hasselmans)  Ada  Sassoli 

HINTS  FOR  TEACHERS 

Compare  the  harp  to  the  piano.  Have  class  realize  that  few  great 
composers  have  written  music  for  harp  solo. 

QUESTIONS 
Which    composition    expresses    program    or    descriptive    music? 
Which  represents  poetic  thought?     What  effects  do  we  note  in  the 
first?    In  the  second? 


Lesson  XII 

Technical  Mechanism  of  Wind  Instruments 

The  method  of  tone  production  on  wind  instruments  can  be  best 
understood  if  we  take  a  common  type  and  then  observe  the  precise 
manner  in  which  air,  when  set  in  musical  vibration  by  the  breath, 
is  definitely  controlled  to  this  or  that  pitch.  Let  us  take  as  this  com- 
mon type  a  straight  tube  of  wood,  two  feet  in  length  and  an  inch  in 
diameter,  which  is  closed  about  an  inch  from  the  end  after  the  manner 
of  a  flute  embouchure.  The  tone  then  given  is  C.  Now,  by  increasing 
the  breath,  we  hear  C  octave  and  then  Gl,  C2,  E2,  etc.  This  process 
is  typical  of  all  tubes  of  whatever  size  or  material.  Our  tube  then 
gives  us,  at  least,  five  tones,  without  any  appliances  except  the  increase 
of  breath.  If  we  shorten  the  tube  an  inch,  we  have  D,  then  E,  etc., 
and  their  harmonics.  The  tube  may  be  shortened  by  piercing  holes. 
When  all  these  holes  are  covered,  we  have  the  tone  C,  as  they  are 

147 


T  h  e     ()  r  c  h  e  s  t  r  a 

uncovered  the  other  tones  are  heard.     When  we  obtain  the  mil  scale 
it  must  be  remembered  we  obtain  the  harmonics  as  well. 

In  the  case  of  the  trombone  the  performer  does  actually  shorten  or 
lengthen  the  tube,  as  this  tube  is  of  two  parts,  one  sliding  into  the 
other.  In  other  brass  instruments,  the  long  normal  tube  is  bent  into 
several  crooks,  which  can  be  thrown  into  one  tube,  or  successively 
shut  off  to  diminish  the  aggregate  length,  by  means  of  the  pistons  and 
valves,  which  the  performer  works  with  his  finger;  for  the  bending  of 
a  tube  makes  no  difference  in  the  tone  quality.  Therefore,  by  re- 
membering these  three  things,  first,  that  shortening  of  the  tube  height- 
ens the  pitch ;  second,  that  a  tube  may  be  shortened  by  holes  in  the 
side  (as  in  flutes,  oboes,  clarinets,  and  bassoons),  or  by  shutting  off 
its  crooks,  as  in  horns,  trumpets,  etc.,  or  by  directly  contracting  its 
length  as  in  trombones;  and  third,  that  each  of  the  tones  of  the  first 
octave  produces  from  one  to  five  other  tones,  by  simply  increasing  the 
breath  pressure;  we  then  will  understand  the  principle,  varying  only 
in  detail,  which  underlies  the  whole  wind  side  of  the  orchestra. 

ILLUSTRATIONS 

35236  The  Instruments  of  the  Orchestra — The  Strings  and  Wood-Winds 

Victor  Orchestra 

35237  The  Instruments  of  the  Orchestra — The  Brasses  and  Percussion 

Victor  Orchestra 


Lesson  XIII 

The  Wood-Wind  Choir 

The  "Wood-Wind"  Choir  is  composed  of  flutes  and  reeds,  which 
are  divided  as  follows : 

Flutes {Flute. 

I    Piccolo-Flute. 

Oboe. 
English  Horn. 


Reeds 


Double 
Reeds 

Single 
Reeds 


Bassoon. 
Contra-Bassoon. 
Clarinet. 
Bass-Clarinet. 


The  French  horn,  although  a  brass  instrument,  also  belongs  to 
the  wood-wind  choir. 


148 


The     Orchestra 


WOOD-WIND    CHOIR 
FLUTE  PICCOLO  OBOE  ENGLISH     HORN  CLARINET  BASSOON 

Although  designated  as  the  "Wood-Wind  Choir,"  we  find  the, 
voices  of  the  flute,  oboe  and  clarinet  practically  the  same  in  range. 
They  may  be  distinguished  as: 

Coloratura  Soprano,  Flute. 

Lyric  Soprano,  Oboe. 

Dramatic   Soprano,    Clarinet. 

We  shall  listen  today  to  the  voices  of  three  great  sopranos  that 
we  may  clearly  understand  the  terms  coloratura,  lyric  and  dramatic 
in  relation  to  tone  quality. 

ILLUSTRATIONS 

88019     Voce  di  Primavera— Waltz     (Johann  Strauss)     (Coloratura) 

Mme.  Sembrich 
Mme.  Gluck 


64213     Bohemian  Cradle  Song     (Smetana)     (Lyric) 

87002     Ho-yo-to-ho     (Valkyrie  Cry)     (From  "Die  Walkiire  '*) 


(Wagner)     (Dramatic) 


Mme.  Gadski 


HINTS  FOR  TEACHERS 
Place  list  on  board,  but  without  the  designation  coloratura,  lyric. 
or  dramatic.     Let  pupils  determine  this  if  possible.     The  first  and 


149 


The     0 r c h e s t 


r  a 


second  have  been  heard  before.     Let  pupils  recognize  this  for  them- 
selves, if  possible. 

QUESTIONS 

Which  illustrates  coloratura?  Which  lyric?  Which  dramatic? 
Which  selections  are  from  opera?  Which  have  we  heard  before? 
What  did  they  then  illustrate?  Which  illustrates  nationality?  Which 
is  descriptive?  Which  depicts  poetic  thought?  Which  have  definite 
form? 


Lesson  XIV 

The  Flute 

The  flute  is  the  coloratura  soprano  of  the  wood-wind  family,  but 
it  is  lacking  in  the  depth  of  expression  which  is  characteristic  of  the 
oboe  and  clarinet.  The  flute  is  more  familiar  than  any  of  the  other 
wood-wind  instruments  and  is  one  of  the  oldest  instruments  in  the 
orchestra,  although  it  has  only  been  in  modern  days  that  it  has  come 
to  the  front  rank  as  a  solo  instrument.  In  the  old  days  it  was  im- 
possible to  have  the  holes  of  an  equal  distance  as  they  could  not  be 
properly  covered  by  the  fingers;  therefore,  the  flute  was  never  per- 
fectly in  tune  throughout  its  entire  compass.  Bohm  (1794-1881) 
invented  a  mechanism  by  which  the  holes  could  be  covered  by  padded 
keys,  therefore,  they  could  be  made  of  a  uniform  proportion.  Boehm  's 
invention  has  been  adopted  for  all  the  wood-wind  instruments. 

The  flute  is  possessed  of  a  marvelous  agility  which  is  very  useful 
in  the  orchestra.  It  is  usually  given  the  highest  voice  when  playing 
with  the  oboe  and  clarinet. 

The  octave  flute,  or  piccolo,  is  the  highest  instrument  of  our 
orchestra.  Sounded  alone  it  is  almost  unbearable,  for  it  is  own  cousin 
to  the  ear-piercing  fife,  but  when  used  with  the  other  instruments, 
excellent  effects  of  combination  are  possible.  There  are  three  flutes 
in  the  symphony  orchestra  and  one  piccolo-flute. 

ILLUSTRATIONS 

60026     Spinning  Wheel     (Spindler)     (Flute)  John  Lemmone 

16047     The  Wren     (Demare)     (Piccolo)  Darius  Lyons 

70029     Concerto  for  Harp  and  Flute     (Mozart) 

Ada  Sassoli  and  John  Lemmone 

150 


The     Orchestra 

QUESTIONS 

Which  instrument  did  we  hear  first?  What  composition  is  de- 
scriptive? Is  it  descriptive  by  rhythmic,  melodic  or  harmonic 
peculiarities?  Is  this  imitative  music?  To  what  school  does  Mozart 
belong? 


Lesson  XV 

The  Oboe  and  English  Horn 

The  flute  or  pipe  of  the  Greeks  was  the  ancestor  of  the  oboe  and 
clarinet.  These  instruments  are  sounded  by  blowing  the  air  in  at  the 
end,  and  the  tone  is  created  by  the  vibrating  of  reeds  attached  to  the 
mouthpiece  where  as  in  the  flute,  it  is  the  result  of  the  impinging  of  the 
air  on  the  edge  of  the  embouchure  (or  opening  on  the  side  of  the  flute) . 
The  reeds  are  thin  pieces  of  cane.  The  size  and  bore  of  the  instru- 
ments and  the  difference  between  these  reeds  are  the  causes  for  the 
difference  in  tone  quality  of  these  instruments.  The  double  reed  in- 
struments, oboe,  English  horn,  bassoon,  contra-bassoon,  have  two 
pieces  of  cane  fitted  closely  together,  extending  from  the  upper  end 
of  the  oboe  and  English  horn,  and  from  the  sides  of  the  bassoons. 
These  reeds  are  pinched  in  the  lips  and  set  in  vibration  by  the  breath. 

In  playing  the  oboe,  such  a  small  quantity  of  air  is  required,  that 
the  performer  is  almost  constantly  holding  his  breath,  which  is  very 
fatiguing.  The  oboe  is  the  most  refined  of  any  of  the  wind  instru- 
ments. Its  tone  is  more  reedy  in  character  than  the  clarinet  and 
has  two  peculiar  qualities,  it  is  soft  and  tender,  yet  astonishingly 
penetrating.  The  instrument  is  especially  adapted  for  pastoral 
effects,  and  for  the  expression  of  romantic  melody.  The  oboe  has 
always  held  the  right  to  sound  the  tuning  A  for  the  orchestra. 

The  alto  of  the  oboe  is  the  English  horn.  This  instrument  is 
to  the  oboe,  what  the  viola  is  to  the  violin,  and  is  tuned  a  fifth  lower. 
It  is  larger  and  the  upper  part,  which  is  of  metal,  is  bent  so  as  to 
be  more  convenient  for  the  player.  This  is  a  very  old  instrument, 
and  was  originally  covered  with  a  skin  which  made  it  resemble  an 
Alpine  horn,  but  no  one  knows  why  it  was  called  English.  Its  tone 
is  more  veiled  and  dreamy  than  the  oboe.  It  has  only  been  used  in 
the  orchestra  in  modern  times,  Berlioz  being  one  of  the  first  composers 
to  recognize  its  beauties. 

151 


T  h  t'      O  r  c  h  e  s  t  r  a 

ILLUSTRATIONS 

I   Sweet  Bird     (II  Pensieroso)     (Handel)     Flute  and  Oboe 
17174,  Doucet  and  Barone 

I  Hear  Me  Norma  (Bellini)  Oboe  and  Clarinet        Doucet  and  Christie 
35275     Largo— "New  World  Symphony"     (Dvorak) 

Victor  Concert  Orchestra 

HINTS  FOR   TEACHERS 
The  first  two  selections  will  be  heard  in  Course  IV.      Explain 
their  place  in  opera,  what  voices  sing  them  and  which  each  instru- 
ment here  imitates. 

QUESTIONS 
What  instruments  do  we  hear  in  these  compositions?  In  the 
first  which  instrument  is  heard  alone  first?  Which  in  the  second? 
Which  instrument  has  the  most  piercing  tone?  Which  has  a  tone 
more  similar  to  that  of  the  human  soprano?  What  instrument  do 
you  hear  at  the  opening  of  the  last  selection?  When  have  we  heard 
these  selections  before?     To  what  schools  do  these  composers  belong? 


Lesson  XVI 

The  Clarinet 

The  clarinet  is  of  more  recent  introduction  into  the  orchestra 
than  any  of  the  other  instruments,  yet  it  is  the  most  useful,  and  in 
some  respects,  the  most  important,  of  the  wood-wind  family.  Its 
chief  structural  difference  is  the  mouth-piece,  which  is  cut  down 
chisel-shaped;  into  this,  a  simple  flat  reed  is  fastened.  The  clarinet 
has  a  very  extensive  compass  of  over  three  octaves,  and  possesses 
great  agility  in  producing  tones  with  a  rich,  mellow  voice,  which 
Berlioz  aptly  characterized  as  "sour  sweet."  The  fingering  of  the 
clarinet  differs  from  the  other  wood-wind  instruments,  and  as  it  is 
almost  impossible  to  play  in  keys  having  more  than  two  sharps  or 
flats,  various  kinds  of  clarinets  are  made  to  be  used,  in  the  different 
keys.  The  C  clarinet  plays  what  is  written  on  the  score;  the  others 
are  transposing  instruments.  For  example,  the  B  flat  clarinet  plays 
the  same  music  the  orchestra  is  playing,  and  it  sounds  out  of  tune ; 
therefore,  in  order  to  have  it  play  with  the  orchestra,  the  score  must 
be  written  for  the  clarinet  in  a  different  key  from  the  rest  of  the 
orchestra,  so  all  will  sound  together.     The  three  clarinets  commonly 

152 


The      Orchestra 

in  use  are  C,  A,  and  B  Hat.  In  some  eases  where  there  is  not  a  great 
difference  in  the  difficulties  of  playing,  it  is  observed  that  the  B  flat 
clarinet  has  the  fullest,  richest  tone,  therefore,  this  is  the  one  generally 
selected  for  solos.  The  clarinet  has  four  distinct  registers,  and  be- 
cause of  these,  four  individual  tonal  qualities;  also  because  of  its 
ability  to  crescendo  and  diminish  a  tone,  it  is  an  instrument  in  great 
demand  in  our  brass  bands,  as  well  as  our  orchestras. 

The  deeper  voice  of  the  clarinets  is  found  in  the  bass-clarinet,  an 
instrument  pitched  an  octave  lower  than  the  regular  clarinet.  The  bass 
clarinet  is  bent  and  has  a  bell  of  brass  which  turns  upward,  pipe 
fashion.  The  voice  of  the  bass  clarinet  is  impressive  and  noble,  and 
similar  in  quality  to  certain  registers  of  the  organ. 

ILLUSTRATIONS 
35182     Concertino     (von  Weber)     Clarinet  Draper 

17174     Hear  Me  Norma   (Bellini)  Clarinet  and  Oboe       Doucet  and  Christie 
(2)   Tarantella     (Saint-Saens)     Clarinet  and  Flute 

Christie  and  Barone 

HINTS  FOR  TEACHERS 
If  possible  to  take  the  time,  write  a  theme  on  the  board,  showing 
the  notes  for  clarinet  in  C  and  in  transposed  form.     This  is  always 
difficult  to  make  absolutely  clear  to  a  class  at  the  first  presentation. 

QUESTIONS 
Which  selection  is  solo?  To  what  school  did  von  Weber  belong? 
Which  instrument  has  the  clearest,  fullest  tone,  the  flute  or  clarinet? 
Which  do  you  like  best?  Which  instrument  has  the  most  charac- 
teristic voice,  the  clarinet  or  oboe?  What  is  a  tarantella?  How  is  it 
here  used? 


Lesson  XVII 

Bassoon 
The  bass  of  our  double  reed  family  is  the  bassoon,  and  here  we 
find  a  quality  unknown  to  the  other  wood-wind  instruments.  The 
bassoon  is  the  bass  of  the  wood-wind  choir;  occasionally  when  a  very 
deep  bass  is  needed  the  contra-bassoon  is  employed.  The  bassoon  is  bent 
for  the  convenience  of  the  player,  and,  therefore,  the  Italians  call  the 
instrument  a  "fagotte"  or  bundle  of  sticks.     From  the  side  of  the 

153 


The     Orchestra 

instrument  there  projects  a  silver  tube,  into  which  the  reeds,  similar, 
but  larger,  to  those  of  the  oboe,  are  fitted.  The  instrument  is  easily 
distinguished  in  the  orchestra.  It  is  an  exceedingly  useful  instru- 
ment as  its  register  is  over  three  octaves,  and  it  has  great  technical 
agility.  Its  voice  is  similar  to  the  'cello  and  horn,  only  it  is  more 
nasal  in  quality.  There  is  no  instrument  capable  of  greater  variety 
than  the  bassoon.  On  account  of  its  great  compass  it  has  four  distinct 
registers  of  tone.  For  the  production  of  grotesque  effects  the  bassoon 
is  the  clown  of  the  orchestra.  Its  humor  is  unconscious,  however, 
and  comes  from  the  use  of  the  deepest  register  of  the  instrument. 
When  this  depth  of  tone  is  combined  with  the  extreme  agility  of 
which  the  instrument  is  possible,  we  have  a  gay,  grotesque  effect  which 
is  irresistible.  In  this  it  has  been  used  very  often  by  composers  of 
program  music. 

ILLUSTRATIONS 

35236    Instruments  of  the  Orchestra     (Wood- Wind  Section) 

Victor  Orchestra 

70050     Marche  Slave     (Tschaikowsky)  Victor  Herbert's  Orchestra 

HINTS  FOR  TEACHERS 
It  is  suggested  that  the  special  record  for  the  instruments  be 
replayed  so  that  class  may  distinguish  the  tone  color  of  the  wood-wind 
intruments.  Now  listen  for  the  voice  of  the  bassoons  in  the  ' '  Marche 
Slav"  and  also  see  how  many  of  the  wood-wind  instruments  pupils 
can  distinguish. 


Lesson  XVIII 

Brass  Choir 

The  brass  choir  consists  of  French  horns,  trumpets,  trombones 
and  tuba.  In  early  scores  the  trumpets  were  considered  the  most  im- 
portant instruments,  but  now  the  French  horns  are  the  most  popular. 
It  was  also  customary  to  arrange  a  quartet  of  brass  instruments  thus : 

Trumpet,  Soprano. 

Horn,  Alto. 

Trombone,  Tenor  or  Baritone. 

Tuba,  Bass. 

In  writing  for  the  brass  choir  in  our  modern  day,  it  is  generally 
the  custom  to  write  for  each  group  in  independent  harmony;  thus, 

154 


The     Orchestra 


BRASS    CHOIR 
FRENCH    HORN  TROMBONE  TUBA  CORNET     (TRUMPET) 


CORNET     (TRUMPET) 


three  trumpets  or  three  trombones,  with  tuba  make  complete  har- 
mony, as  do  the  four  French  horns.  Then,  again,  trombones  and 
trumpets  may  combine ;  or  horns  and  trombones ;  or  horns  and 
trumpets.  With  the  wood-wind  instruments  the  tones  are  produced 
by  vibrating  reeds,  but  with  the  brasses  the  lips  of  the  players  act  as 
the  reeds,  and  each  tone  is  produced  by  a  different  pressure  of  the 
lips,  or  to  use  a  technical  term,  a  different  embouchure.  When  the 
brass  choir  is  properly  employed  it  is  capable  of  the  most  beautiful 
rich  tones,  which  nearly  resemble  that  of  the  organ. 

ILLUSTRATIONS 

17133  Pilgrims'  Chorus — "Tannhauser"  (Wagner)  Victor  Brass  Quartet 
17216     Farewell  to  the  Forest     (Mendelssohn)     (2)  Spring  Song 

(Pinsuti)  Victor  Brass  Quartet 

QUESTIONS 

What  instruments  do  you  hear  in  these  selections  ?  What  number 
is  from  an  opera?  Which  expresses  poetic  thought?  To  what  school 
does  Wagner  belong  ?    Mendelssohn  ? 

155 


The     Orchestra 
Lesson  XIX 

French  Horn 

The  French  horn  is  often  heard  as  a  member  of  the  wood-wind 
choir,  although  by  family  it  belongs  to  the  "brasses."  In  Beethoven's 
day  the  horn  was,  in  reality,  the  old  hunting  horn,  which  was  coiled, 
so  that  it  might  be  slipped  over  the  head  of  the  mounted  hunter  and 
carried  resting  on  the  shoulder.  If  the  horn  were  straightened  out, 
it  would  be  seventeen  feet  long.  The  horn  is  very  difficult  to  play, 
for  the  lips  act  as  reeds  in  the  cup-shaped  mouthpiece,  and  the  force 
of  the  lips  and  the  rapidity  of  oscillation  produces  the  tone.  In 
olden  times  it  was  discovered  by  accident,  that  by  putting  the  hand 
into  the  lower  end  of  the  tube  (the  flaring  part,  called  the  bell),  the 
pitch  of  a  tone  was  raised,  and  this  method  is  even  now  occasionally 
used,  although  it  is  no  longer  necessary,  since  the  horn  has  been  pro- 
vided with  valves  and  crooks,  and  it  is  now  possible  to  play  a  full 
chromatic  scale.  Formerly  it  was  necessary  to  use  horns  of  different 
pitches,  and  players  were  provided  with  different  crooks,  which  pro- 
duced different  keys.  The  composer  designated  on  his  score  which 
crook  was  to  be  used,  much  the  same  as  with  clarinets.  Now,  the 
horn  in  the  key  of  F  is  used  for  almost  all  music,  as  its  tone  is  much 
more  beautiful  and  mellow  than  when  the  other  keys  are  used. 

The  horn  is  the  most  genial  of  all  instruments;  its  tones  are  full 
of  passion,  pathos  and  solemnity.  It  blends  well  with  the  general 
harmony  and  can  therefore  be  used  to  play  a  solo  part  in  com- 
plete harmony,  or  to  simply  fill  in  the  general  scheme  of  orches- 
tration. There  are  several  splendid  effects  which  are  possible  on  a  horn. 
By  means  of  a  mute,  the  echo  horn  is  heard.  Stopped  tones  produced 
by  the  insertion  of  the  hands  in  the  bell  produce  an  effective  tone, 
which  is  nasal  and  discordant,  and  is  employed  to  depict  strife  and 
discord  in  program  music. 

ILLUSTRATIONS 

62636     Overture — "Der  Freischutz"     (von  Weber)  La  Scala  Orchestra 

17174     Siegfried  Horn  Call     (Wagner)     French  Horn  A.  Horner 

31689     Overture— "  Oberon  "     (von  Weber)  Pryor's  Band 

HINTS  FOR  TEACHERS 
The  familiar  opening  theme  (used  by  us  as  a  hymn)  is  an  excel- 
lent example  of  the  horn   quartet.     The   Siegfried  horn   call  is  an 

156 


The     Orchestra 

example  of  characteristic  instrumentation  as  well  as  of  a  "leit  motif." 
The  Largo  from  "The  New  World  Symphony"  used  in  Lesson  XV 
should  be  used  again  so  that  students  may  recognize  the  difference 
between  the  English  horn  and  the  French  horn. 

QUESTIONS 

Which  selections  are  from  the  opera?  What  instruments  beside 
the  French  horn  do  you  clearly  hear  in  the  third?  To  what  school 
does  von  Weber  belong?    Dvorak? 


Lesson  XX 

Trumpet 

The  trumpet  is,  in  reality,  the  soprano  of  our  brass  choir,  its 
voice  being  an  octave  higher  than  the  horn,  although  its  harmonic 
scale  is  the  same.  The  chief  structural  difference  is  that  the  tube  of 
the  trumpet  is  cylindrical  throughout,  only  opening  out  into  a  small 
cone  near  the  bell.  The  tube  is  only  half  the  length  of  that  of  the  horn. 
It  is  a  transposing  instrument  and  a  number  of  different  crooks,  in 
various  keys,  are  used.  The  quality  of  the  trumpet  is  brilliant  and 
noble.  It  has  been  necessary  to  substitute  the  cornet  for  the  trumpet 
in  many  orchestras,  as  the  latter  instrument,  although  not  possessing 
the  tonal  beauty  of  the  trumpet,  is  a  much  easier  one  to  play. 

ILLUSTRATIONS 

74080    The  Trumpet  Shall  Sound     ("Messiah")     (Handel) 

Herbert  Witherspoon 

16313     Russian  Fantasie  Herbert  L.  Clarke 

35265     Triumphal  March     ("Ai'da")     (Verdi)  Vessella's  Italian  Band 

HINTS  FOR  TEACHERS 

In  presenting  the  Russian  Fantasie  a  short  review  of  Russian  folk 
music  is  advisable.  A  point  should  be  made  of  the  remarkable  use 
of  the  trumpet  in  Handel's  "Messiah"  in  its  relation  to  later  instru- 
mental development. 

157 


The      Orchestra 

QUESTIONS 

What  Russian  air  did  we  hear  in  the  second  selection?  Which 
was  legendary  folk-song?  Which  is  national  song?  In  the  first  does 
the  use  of  the  trumpet  help  the  dramatic  effect?  To  what  school  did 
Handel  belong?    From  what  form  of  work  is  this  selection? 


Lesson  XXI 

Trombone 

The  trombone  is  one  of  the  noblest  instruments  of  the  orchestra. 
Its  tone  is  grave  and  majestic,  and  in  all  solemn  and  dignified  music, 
the  trombone  plays  an  important  part.  It  is  customary  to  write  for 
the  instrument  in  parts,  using  the  tuba  for  the  bass  of  the  quartet, 
but  the  trombones  are  also  used  in  unison.  The  wonderful  effect  in 
the  "Pilgrims'  Chorus"  in  "Tannhauser"  is  produced  by  this  means. 

Mendelssohn  once  said,  "The  trombones  are  too  sacred  for  often 
use,"  and  most  of  the  great  composers  have  felt  this  and  have  em- 
ployed the  trombones  for  the  expression  of  overwhelming  impressive- 
ness.  This  is  the  reason  why  Wagner  uses  the  trombones  nt  the  height 
of  his  crescendo  in  the  "Vorspiel  to  Lohengrin." 

ILLUSTRATIONS 
35157     Cujus  Animam     ("Stabat  Mater ")     (Rossini)  Arthur  Pryor 

16371     Miserere     ("  II  Trovatore ")     (Verdi)  Cornet  and  Trombone 

HINTS  FOR  TEACHERS 

Both  of  these  records  are  double-faced.  We  have  used  No.  16371 
before.  On  the  reverse  of  No.  35157  is  Chopin's  Funeral  March  for 
brass  band,  which  may  be  used  with  Lesson  No.  XXII. 

QUESTIONS 

Which  selection  is  a  solo?  Which  a  duet?  Which  is  from 
opera?  Which  from  oratorio?  To  what  school  does  Rossini  belong? 
Verdi? 

158 


1  h  e     Orchestra 
Lesson  XXII 

Tuba 

The  four-part  harmony  of  the  trombones  is  usually  given  us  by 
three  trombones  and  the  tuba.  The  tuba  is  the  double  bass  of  the 
brass  family  and  has  the  deepest  tone  in  the  wind  orchestra.  It 
belongs  to  the  class  of  instruments  commonly  known  as  "saxohorn." 
(So  named  from  their  inventor,  Sax.)  These  make  up  the  principal 
part  of  our  brass  bands.  The  tuba's  voice  is  noble  and  dignified. 
The  instrument  is  made  in  several  keys,  but  the  one  generally  used  in 
our  orchestra  is  in  B  flat. 

ILLUSTRATIONS 
31381     Fackeltanz     (Meyerbeer)  Pryor's  Band 

35157     Funeral  March     (Chopin)  Pryor's  Band 

HINTS  FOR  TEACHERS 
One  of  the  best  uses  of  the  tuba  in  all  musical  literature  is  its  use 
in  the  Torch  Dance  of  Meyerbeer.    Have  class  give  a  short  clap  of  the 
hands  when  they  hear  the  tuba  in  this  selection. 

QUESTIONS 

To  what  school  did  Meyerbeer  belong?  Chopin?  In  what  com- 
position does  the  Funeral  March  belong?  For  what  instrument  was 
it  original! v  written? 


Lesson  XXIII 

Percussion  Instruments 

The  instruments  of  Percussion  are  generally  referred  to  as  "the 
battery."  The  most  important  of  these,  are  the  tympani  or  kettle- 
drums, for  they  are  the  only  drums  which  can  be  tuned  to  a  definite 
pitch.  These  instruments  are  hemispherical  brass  or  copper  vessels, 
kettles  in  short,  covered  with  vellum  heads,  which  can  be  controlled  to 
pitch  by  means  of  a  tension  of  this  head,  which  is  applied  with  key 
screws,  working  through  iron  rings.  The  part  of  the  drummer  is  a 
very  difficult  one,  for  he  must  have  absolute  pitch,  and  he  is  also 
required  to  have  a  perfect  sense  of  time  and  rhythm.  Very  often 
the  drummer  is  called  upon  to  change  one  or  all  of  his  drums  into 

159 


The     Orchestra 


XYLOPHONE 


PERCUSSION    INSTRUMENTS 
ORCHESTRA   BELLS  CHIMES 

SIDE     DRUM 


TYMPANI     (KETTLE    DRUM) 


another  key  while  the  orchestra  is  still  playing  in  the  original  key. 
In  olden  days  the  drums  were  used  only  to  accentuate  the  rhythm. 

Beethoven  was  the  first  to  realize  their  possibilities  as  harmonic 
instruments,  and  modern  composers  now  use  the  drums  in  whatever 
key  they  wish.  The  other  instruments  of  percussion  used  in  our 
orchestras  are,  snare  drums,  bass  drums,  cymbals,  triangle,  tam- 
bourine, castanets,  carillon  and  xylophone. 

ILLUSTRATIONS 

70049     Dagger  Dance     ("Natoma")     (Herbert) 

Victor  Herbert's  Orchestra 
70068     Indian  March     ("  L'Africaine ")     (Meyerbeer) 

Victor  Herbert's  Orchestra 
31735     Procession  of  Knights    ("Parsifal")     (Wagner)  Pryor's  Band 

QUESTIONS 
To  what  schools  do  these  compositions  belong?     What  principle 
of  music  does  each  illustrate?    What  instruments  do  you  hear  clearly 
in  the  first  selection  ?    In  the  second  ?    The  third  ?    Which  is  religious 
in  character?    What  tonal  effect  helps  to  give  this  impression? 

160 


The     Orchestra 


L 


ess  on 


XXIV 


The  Development  of  the  Orchestra 

The  use  of  instruments  can  be  traced  back  to  early  man  who  first 
used  the  drums  and  tom-tom  (percussion  instruments)  for  the  accom- 
paniment to  his  primitive  chants  and  dances.  The  second  step  shows 
us  the  first  use  of  wind  instruments 
as  made  from  the  horns  of  animals 
and  later  duplicated  in  brass  and 
other  metals.  In  the  third  period 
the  gentler  side  of  man's  heart 
seems  to  have  awakened  and  we 
notice  an  instinct  to  reproduce  the 
sounds  of  Nature,  by  means  of  the 
reed  instruments,  made  from  the 
sources  provided  by  Nature  herself. 
The  last  period  gives  us  the  use 
of  the  stringed  instruments,  first 
noticed  in  the  simple  lyre  and  harp, 
later  developing  into  the  stringed 
instruments  played  with  the  bow. 
(Review  Lesson  II,  Course  II.) 

In  medieval  days,  while  the 
science  of  music  was  being  fostered 
by  the  Church,  instruments  were  used  principally  by  the  common 
people,  and  we  have  found  that  all  the  Troubadour,  Minstrel,  and 
Minnesinger  songs  were  accompanied  by  the  stringed  instruments. 
At  the  end  of  the  sixteenth  century  the  greatest  instrumental  school 
was  that  of  Venice,  which  was  founded  by  Adrian  Willaert,  of  the 
Netherlands.  (See  Lesson  VI,  Course  II.)  Willaert  and  his  fol- 
lowers used  the  instruments  in  the  same  antiphonal  method  as  that 
employed  for  choruses. 

With  the  birth  of  opera  the  interest  in  instrumental  music  was 
for  a  time  superseded  by  the  enthusiasm  for  the  new  vocal  form,  but 
with  the  Venetians,  the  combination  of  the  instruments  with  the 
voices  resulted  in  many  interesting  effects  which  increased  the  dra- 
matic value  of  the  opera.  Claudio  Monteverde  (1567-1643),  earned 
the  title,  "the  father  of  instrumentation,"  for  it  was  he  who  first 
introduced  the  violin  into  the  orchestra.     In  his  opera,  "Tancred," 


TWO     EXAMPLES     OF     THE     CRYWTH 

1.  Tenth  Century 

2.  Eighteenth  Century  in  England 


161 


The     Orchestra 


produced  in  1624,  Monteverde  used  the  tremolo  of  the  violin  to  repre- 
sent the  excitement  felt  during  the  duel  scene,  while  pizzicati  from  the 

double  basses  depicted  the  sword 
thrusts.  Through  his  influence  the 
Venetian  masters  used  an  orches- 
tral introduction  for  their  operas. 
This  was  called  an  overture,  and 
followed  a  definite  form.  They  also 
employed  an  instrumental  interlude 
between  the  acts.  In  the  French 
Opera  of  the  late  seventeenth  cen- 
tury, these  interludes  always  took 
the  form  of  dances,  and  from  this 
custom  arose  the  popularity  of  the 
French  Ballet.  At  this  period 
(middle  of  sixteenth  to  first  of 
eighteenth  centuries),  the  violin 
reached  its  perfection.  The  little 
town  of  Cremona,  near  Venice,  be- 
came famous  because  the  greatest 
stringed  instruments  the  world  has 
(a  aud^t  Russian  Balalaika  ever  known  were  made  here. 


ILLUSTRATIONS 

61181     Folk  Song— "Let  Joy  Abide"     (Russian) 

Mme.  Michailowa,  with  Balalaika  accompaniment 

70034     Two  Folk  Songs     (Russian)  Balalaika  Orchestra 

HINTS  FOR  TEACHERS 

The  balalaika  is  the  most  perfect  folk  instrument  of  the  early 
days  which  is  still  in  existence.  This  curious  three-stringed  instru- 
ment is  similar  to  the  mandolin  and  is  made  in  several  sizes,  some 
as  large  as  our  double  bass.  These  intruments  have  been  used  by 
the  Russian  peasants  for  centuries,  but  it  has  only  been  within  the 
last  few  years,  since  the  folk  music  of  Russia  has  awakened  such  general 
interest,  that  the  instruments  have  been  generally  known.  Through 
the  efforts  of  M.  Andreeff,  the  folk  instruments  of  the  Russian 
peasants  have  become  better  known,  and  his  combination  in  an  orches- 
tra of  the  balalaika  with  the  doumra   (a  later  instrument  more  like 


162 


The     Orchestra 

our  guitar),  has  brought  great  popularity  to  the  Russian  Balalaika 
Orchestra,  of  which  he  is  director. 

The  first  illustration  shows  us  the  use  of  the  simple  old  folk  song, 
with  balalaika  accompaniment;  the  second  two  folk  dance  songs  are 
here  played  by  a  combination  of  balalaikas  and  doumras.  Recall  the 
use  of  the  lute  as  an  accompaniment  of  the  Swedish  folk  songs.  The 
harp  of  the  Irish  songs. 

[Lesson  XXV,  Course  I;  Lesson  XXVI,  Course  I.] 

QUESTIONS 
What  class  of  folk  song  is  the  first?  "What  the  second?  (b) 
of  the  second?  "What  instrument  does  the  tone  of  accompaniment  in 
No.  1  resemble  ?  "What  other  uses  have  we  had  of  instrumental  accom- 
paniment to  folk  songs?  When  did  we  hear  these  records  before? 
What  did  they  then  illustrate  ?  What  other  folk  illustrations  have  we 
heard  with  voice  and  stringed  instrument? 


Lesson  XXV 

The  Orchestra  and  Instrumental  Forms  at  the  Time  of  Hach 
At  the  time  of  Bach  the  orchestra  consisted  of  an  almost  evenly 
balanced  proportion  of  reed  and  stringed  instruments.  These  were 
still  treated  in  the  old  method  of  antiphonal  writing.  The  most  popu- 
lar solo  instruments  at  this  time  were  the  violin,  clavichord,  harpsi- 
chord, organ. 


The  greatest  in- 
strumental forms  of 
Bach 's  time  were : 

Fugue  —  The 
strictest  form  of  con- 
trapuntal development 
written  for  the  solo 
instrument.  F  u  g  a  1 
passages  appear  in 
much  concerted  music. 

Theme  and  Vari- 
ations— Original  vari- 


THE    TOWN     PIPERS    AT    THE     PERIOD    OF    BACH 


ations  on  a  given  theme,  a  popular  form  for  organ  or  harpsichord. 
Fantasia — Free  development  of  one  or  more  themes;   usually 


163 


The     Orchestra 


follows  a  prelude  and  precedes  the  fugue  in  Bach's  largest  organ 
forms. 

Overture — The  introduction  to  the  opera  takes  two  forms  in  the 
seventeenth  century — that  of  France,  the  Lully  Overture,  and  that  of 
Italy  the  Scarlatti  Overture. 

The  Lully  Overture  consisted  of  three  movements :  short  intro- 
duction ;  rapid  fugal  passage ;  slow  coda  ending. 

The  Scarlatti  Overture :     Rapid  first  part ;  contrasting  slow  move- 
ment; rapid  ending. 

These  two  forms  combine  in  the 

Sonata — Generally  written  for  solo  instruments;  a  composition 
having  three  movements : 

First :  Follows  form  of  Lully  Overture,  its  general  character 
being  rapid. 

Second :    Song  form  or  theme  and  variations — slow  in  character. 

Third :    Rondo  or  jig — rapid  in  character. 

Thus  we  have  three  movements,  fast,  slow,  fast,  following  the 
pattern  of  the  Scarlatti  Overture,  while  the  first  movement  follows 
definitely  the  Lully  Overture. 

Suite — A  collection  of  dances  first  put  in  a  definite  form  by 
the  town  pipers  of  Germany  at  the  time  of  the  Thirty  Years'  War. 
This  German  collection,  called  the  Partita,  began  with  an  Allemande 
(German  Dance),  and  included  the  Gavotte,  Sarabande,  Bouree, 
Minuet,    etc.,    and   ended    with    the    Rondo    or    Gigue    (jig).      The 

French  composers 
then  took  the  Ger- 
man Partita  and 
prefaced  it  with 
the  Lully  Over- 
ture, adding  sev- 
eral dances,  which 
were  particular 
favorites  at  the 
French  Court.  It 
was  this  form  that 
Bach  employed 
for  the  writing  of 
his     great     suites. 


THE    WATER    MUSIC HANDEL 


164 


The     Orchestra 

Serenade — A  collection  of  short  composition  in  which  the  simple 
song  form  of  song-contrasting  song,  first  song,  was  the  basis.  These  were 
collected  by  the  paid  serenaders  of  the  early  seventeenth  century,  but 
the  form  later  develops  in  a  similar  manner  to  that  of  the  Suite.  It  is 
often  prefaced  with  an  overture  and  sometimes  popular  dances,  par- 
ticularly the  Minuet,  are  introduced. 

Concerto-Grosse — A  large  composition  in  the  form  of  the  sonata 
written  for  many  instruments;  still  making  use  of  the  old  antiphonal 
choirs.  At  Bach's  time  one  group  of  instruments  acted  as  virtuosi 
and  played  a  more  difficult  part  than  those  producing  the  accom- 
paniment. 

Symphony — The  term  symphony  was  occasionally  employed  at 
Bach's  time  to  designate  a  composition  which  was  sounded  in  con- 
trast to  music  which  was  sung  and  which  was  termed  cantata. 

ILLUSTRATIONS 
16474     Amaryllis     (Old  French)  Victor  Orchestra 

74080     The  Trumpet  Shall  Sound     (From  "Messiah")     (Handel) 

Herbert  Witherspoon 
70047     From  D  Major  Suite     (Bach)  Victor  Herbert's  Orchestra 

17184    Bouree  from  Violoncello  Suite  III     (Bach)  Victor  Quintet 

HINTS  FOR  TEACHERS 

Amaryllis  is  an  excellent  example  of  the  old  French  rondo.  Ex- 
plain the  use  of  the  air  in  the  suite  D  Major.  A  wonderful  example 
of  Bach's  melodic  gift.  In  the  Handel  number  recall  that  Handel 
wrote  but  little  instrumental  music  and  that  his  use  of  the  instru- 
ments was  often  most  effective  in  his  operas  and  oratorios.  Particu- 
larly is  this  true  of  this  aria  in  the  use  of  the  trumpet  call  to  illustrate 
the  words  of  the  text. 

QUESTIONS 

When  did  we  hear  these  compositions  before?  What  did  they 
illustrate  then?    To  what  school  did  Bach  and  Handel  belong? 


Lesson  XXVI 

The  Orchestra  at  the  Time  of  Haydn 
The  next  great  composer  to  leave  a  definite  mark  on  the  develop- 
ment of  our  orchestra  was  Franz  Josef  Haydn,  who  is  rightly  called 
' '  the  father  of  the  modern  symphony  orchestra. ' '    Haydn  divided  the 

165 


o     o 


The      Orchestra 

orchestra  into  the  four  choirs  we  know  today,  grouping  his  instruments 
according  to  families.  He  increased  the  number  of  strings  and  re- 
tained in  the  wind  choirs  those  instruments  whose  voices  were  the 
most  strikingly  characteristic  of  their  class.  Through  the  influence 
of  his  pupil,  Mozart,  who  introduced  to  him  the  beautiful  tone  color 
of  the  clarinets,  Haydn  began  an  appreciative  use  of  the  single-reed 
instruments.  Haydn  also  established  the  present  form  of  the  string 
quartet.  But  his  greatest  contribution  to  modern  instrumental  music 
was  the  evolving  from  the  old  form  the  present  form  of  sonata,  which 
has  been  the  basis  of  all  instrumental  compositions  since  his  time. 
This  form  he  used  in  place  of  the  Lully  Overture  as  the  first  move- 
ment of  all  sonatas.  It  is  larger  and  more  elaborate  and  gives  a 
greater  opportunity,  not  only  for  the  composer  to  show  his  technical 
skill,  but  his  instrumental  science  as  well. 

The  old  movement,  known  as  the  INTRODUCTION,  was  re- 
tained; but  in  place  of  the  customary  fugue,  Haydn  introduced  an 
allegro,  which  was  thus  divided : 

1st  Subject — of  bright,  gay  character,  in  the  regular  key. 

2d  Subject — more  subdued  and  contemplative  in  character,  in 
related  key. 

(If  first  subject  is  announced  by  the  strings,  the  second  subject 
is  usually  given  by  the  wood-winds  or  vice-versa.) 

Repetition  of  Subjects  : 

Free  Fantasia  or  working  out  of  the  subjects,  giving  the  com- 
poser an  opportunity  to  show  his  skill  in  combining  instruments  and 
themes.    This  is  in  the  key  of  the  second  subject. 

Recapitulation  op  Subjects  :  Return  of  original  subjects  as 
first  heard,  only  both  are  now  given  in  the  regulation  key. 

Coda  or  short  summing  up  of  subject  matter. 

This  ' '  Sonata  Form ' '  is  the  pattern  for  all  movements  of  sonatas, 
duets,  trios,  quartets,  etc.,  for  symphonies  or  concertos  and  for 
some  overtures.  When  used  as  the  plain  or  overtures  the  repetition 
of  the  subject  is  omitted.  Haydn's  sonata  or  symphony  was  com- 
posed of  four  movements,  in  place  of  the  old  form,  which  had  but 
three.    It  was  thus  arranged  : 

First  Movement :    ' '  Sonata ' '  form. 

Second  Movement:  Song  Theme  and  Variations,  or  "Sonata" 
forms. 

Third  Movement :     Minuet,  Trio,  Minuet. 

167 


The     Orchestra 
Fourth  Movement:   Rondo,  Theme  and  Variations,  or  "Sonata" 


foi 


ILLUSTRATIONS 
"Surprise"  Symphony     (No.  3)      (Haydn) 

3524^'   ^  Allegro  Victor  Concert  Orchestra 

(  (b)  Andante  Victor  Concert  Orchestra 

,„,,)  (a)  Minuet  Victor  Concert  Orchestra 

63  *  \  (b)  Finale  Victor  Concert  Orchestra 

HINTS  FOR  TEACHERS 

This  symphony  has  been  cut  so  that  the  playing  of  the  movement 
on  a  record  is  possible.  The  divisions  may,  however,  be  easily  fol- 
lowed. Pupils  should  follow  the  forms  very  carefully  and  records 
must  be  replayed  so  that  all  points  of  form,  as  well  as  instrumenta- 
tion, may  be  clearly  understood. 


Lesson  XXVII 

Beethoven 's  Uses  of  the  Orchestra 

Mozart  and  Beethoven  both  followed  the  ideas  of  Haydn,  but 
carried  his  work  much  farther  than  he  had  ever  dreamed.  As  one 
writer  has  said,  "Beethoven  built  a  palace  where  Mozart  had  started 
a  charming  garden  house,  on  the  plans  of  Haydn."  Mozart  had  the 
opportunity  by  his  frequent  travels  through  Europe  to  come  into 
touch  with  the  greatest  orchestras  of  the  world,  and  he  assimilated 
much  from  these  associations.  We  notice  his  spontaneous  use  of  in- 
strumentation in  his  operas  as  well  as  his  symphonies.  His  music 
reflects  the  spirit  of  the  court,  while  Haydn's  is  that  of  the  common 
people.  Mozart  introduced  the  clarinet  into  the  symphony  orchestra, 
although  it  had  been  previously  used  in  the  operas  of  the  French 
School. 

Beethoven  brought  the  symphony  to  its  state  of  perfection.  He 
also  introduced  the  spirit  of  Romanticism  into  music.  In  his  use  of 
the  orchestra,  Beethoven  made  many  innovations.  In  fact  his  con- 
temporaries declared  his  use  of  the  instruments  to  be  abuses  and 
vowed  that  Beethoven  was  ready  for  the  mad-house. 

Beethoven  was  the  first  to  realize  the  importance  of  the  tympani 
or  kettle-drums,  and  he  gave  them  a  melodic  part  in  many  of  his 

168 


The     Orchestra 

later  compositions.  His  individual  work  for  the  double  basses  is  best 
shown  in  the  scherzo  of  the  Fifth  Symphony  and  the  transitional 
passage  between  the  Third  movement  and  the  Finale  of  the  Ninth 
Symphony. 

ILLUSTRATIONS 

[Leonore  Overture,  No.  3     (Part  I)     (Beethoven) 
ic^jj  Victor  Concert  Orchestra 

•"Z0B  Leonore  Overture,  No.  3     (Part  II)      (Beethoven) 

{  Victor  Concert  Orchestra 

I  Leonore  Overture,  No.  3     (Part  HI)     (Beethoven) 
35269;  Victor  Concert  Orchestra 

[ Adagio  from  Fourth  Symphony  (Beethoven)     Vessella's  Italian  Band 

A  series  of  records  of  the  C  Minor   (No.  5)   Symphony  is  now 
being  made  especially  for  this  course. 


Lesson  XXVIII 

The  Influence  of  the  Romantic  School 

We  have  found  that  the  principal  thought  of  the  Romantic  com- 
posers was  the  expression  of  individuality  by  means  of  virtuosity, 
nationality,  and  program  music,  therefore,  it  is  but  to  be  expected 
that  the  use  of  the  orchestra  in  this  connection  is  of  great  importance. 
We  have  found  that  the  Romantic  composers  of  Germany  were  less 
spectacular  in  their  methods  of  treatment  than  those  of  the  French 
School,  where  the  virtuosity  of  both  Berlioz  and  Liszt  makes  itself  ap- 
parent in  their  marvelous  instrumentation.  We  owe  to  the  German 
School,  however,  two  forms  which,  although  founded  on  the  classical 
model  of  the  "sonata,"  makes  possible  the  expression  of  program 
music  as  well.  The  forms  are  the  Concert  Overture  and  the  Symphonic 
Poem. 

The  Concert  Overture  is  the  term  applied  by  Mendelssohn  to  an 
overture  written  in  the  sonata  form,  which  shall  have  a  definite  title 
and  tell  a  definite  story.  It  was  not  written  as  the  introduction  for 
any  dramatic  work,  but,  as  its  name  implies,  was  purely  a  concert 
composition. 

The  Symphonic  Poem  was  the  name  given  by  Franz  Liszt  to  a 
composition  for  symphony  orchestra  which  was  programmatic,  in  that 
it  always  had  a  title  and  generally  was  prefaced  by  a  definite  pro- 
gram. This  form  was  much  longer  than  the  Concert  Overture  and 
different   tempo   were   used.      Two   main   contrasting   subjects   were 

169 


T he     Orchestra 

employed,  but  these  were  of  such  plasticity  that  their  entire  character 
was  frequently  altered  by  the  change  from  one  tempo  to  another. 

In  the  use  of  the  orchestra  we  find  Schubert  employing  many 
beautiful  combinations  of  tone,  but  nothing  which  is  today  regarded 
as  startling.  Von  Weber  makes  excellent  use  of  natural  tone  qualities, 
especially  of  the  wood-winds,  where  the  effect  of  the  French  horns  in 
his  overture  to  "Der  Freischiitz"  and  "Oberon"  is  most  beautiful. 
Technically,  Mendelssohn  understood  the  orchestra  thoroughly  and 
his  instrumentation  is  always  beautiful.  His  most  unique  uses  will  be 
noticeable  in  the  music  for  "A  Midsummer  Night's  Dream." 

Schumann  had  practically  no  knowledge  of  the  technical  side  of 
the  orchestra.  It  is  said  that  when  his  first  symphony  was  given,  the 
composer,  not  realizing  that  trumpets  were  transposing  instruments, 
had  written  for  his  entire  orchestra  in  the  same  key.  Schumann  owed 
much  to  the  friendship  and  help  of  Mendelssohn  in  arranging  his 
orchestral  works. 

The  dazzling  strength  of  Liszt  is  apparent  in  much  of  his  beautiful, 
but  unusual  orchestrations,  which  no  doubt  were  influenced  by  both 
Berlioz  and  Wagner. 

Chopin,  on  the  other  hand,  thought  in  the  medium  of  the  piano, 
and  his  piano  concertos,  the  only  orchestral  works  he  left,  are  mediocre 
and  commonplace  in  the  method  of  his  instrumentation. 

The  great  genius  of  orchestration  in  the  Romantic  School  is 
Hector  Berlioz,  who  has  left  us  "A  Treatise  on  Instrumentation," 
which  will  ever  be  regarded  as  our  best  authority  on  the  possibilities 
of  the  modern  orchestra.  Strangely  enough,  Berlioz  himself  could 
not  play  on  any  instrument,  save  the  guitar,  and  yet  no  man  in  the 
history  of  art  ever  used  the  orchestra  with  such  daring  brilliancy  as 
did  he.  Berlioz  may  be  said  to  have  established  modern  orchestration 
for  new  treatment,  new  effects,  new  combinations  of  tone,  new  insight 
into  the  characteristics  of  individual  instruments  are  all  distinctive 
features  of  his  use  of  the  orchestra.  If  he  be  "the  uncompromising 
champion  of  Program  Music,"  as  Schumann  once  said,  he  is  as  well 
the  virtuoso  orchestra  composer  of  the  nineteenth  century. 

ILLUSTRATIONS 
62636     Overture     ("  Der  Freischiitz ")     (von  Weber)         La  Scala  Orchestra 
35241     Carnaval  Romain  Overture     (Berlioz)  Victor  Concert  Orchestra 

31819     Overture     ("  Midsummer  Night's  Dream  ")     (Mendelssohn) 

Victor  Concert  Orchestra 

170 


The     Orchestra 

HINTS  FOR  TEACHERS 

In  presenting  this  lesson  give  a  short  resume  of  this  period  from 
Lessons  XV  and  XVI,  Course  II.  Carefully  consider  the  tonal  effects 
to  be  noted  in  compositions,  as  pointed  out  in  the  analysis  of  these 
numbers  and  tell  class  what  to  listen  for. 


QUESTIONS 

What  instruments  play  opening  theme  of  No.  1? 
ment  plays  second  subject  of  No.  1  ? 
belong?     Mendelssohn?     Berlioz? 


What  instru- 
To  what  school  did  Von  Weber 


Lesson  XXIX 

Influence  of  Wagner 

As  we  have  discovered  from  our  previous  study  of  Wagner,  it 
was  he  who  brought  back  to  the  music  drama  the  fundamental  prin- 
ciples on  which  it  was  originally  founded,  but  in  doing  so  he  employed 
all  the  resources  of  modern  stage  craft  and  technical  musical  achieve- 
ment ;  therefore,  Richard  Wagner  stands  today  as  not  only  the  greatest 
dramatic  composer  in  the  history  of  music,  but  as  the  greatest  master 
of  orchestration  in 
the  annals  of  the 
art.  By  his  devel- 
opment  of  the 
"leit  motif"  Wag- 
ner discovered  the 
possibilities  of  car- 
rying this  char- 
acteristic phrase 
into  the  orchestra, 
and  he  also  em- 
ploys certain  in- 
struments as  delin- 
eators of  character. 
Thus  in  "Lohen- 
grin"   the    strings 


THE     HIDDEN     ORCHESTRA    OF     THE     WAGNER     THEATRE 
RF.UTH.         SIEGFRIED     WAGNER     IS     CONDUCTING 


171 


The     Orchestra 

always  accompany  the  Swan  Knight,  the  trumpets  King  Henry, 
and  the  wood-winds  the  unfortunate  Elsa.  Wagner  felt  the 
orchestra  to  be  capable  of  portraying  dramatic  action,  either  when 
used  as  an  accompaniment  to  the  voices  or  as  a  purely  instrumental 
interlude,  and  he  also  believed  that  the  overture  should  prepare  the 
minds  of  the  audience  for  the  action  to  follow  in  the  next  act.  With 
"Lohengrin,"  Wagner  institutes  a  custom  of  giving  each  act  its  own 
prelude  and  in  writing  these  introductions  he  departs  from  the 
old  form  of  overture  and  creates  for  us  a  tonal  atmosphere,  which 
is  as  important  to  the  subject  of  the  action  as  is  the  dramatic  situation 
after  the  curtain  is  raised.  In  his  Festival  Play-House  at  Bayreuth, 
Wagner  returned  to  the  old  custom  of  the  seventeenth  century  and 
his  immense  orchestra  was  seated  beneath  the  stage,  so  that  its  voice 
was  blended  and  was  heard,  but  not  seen,  thus  surrounding  the  action 
on  the  stage,  but  never  becoming  more  important  than  the  drama 
itself. 

While  Wagner  did  not  radically  depart  from  the  old  established 
rules  of  orchestration,  his  grouping  and  treatment  of  the  instruments 
was  entirely  new.  His  most  radical  changes  were  with  the  brasses. 
The  modern  inventions  of  valves  and  pistons  made  possible  the  use 
of  valve  trumpets  and  horns  and  the  discarding  of  the  ancient 
orpheicleide  for  the  tuba. 

When  Wagner's  music  sounds  too  "brassy"  it  is  because  it  is 
badly  played.  When  properly  interpreted,  Wagner's  use  of  the  brass 
choir  is  sonorous  and  always  dignified.  No  one  ever  so  well  under- 
stood the  methods  of  the  use  of  the  percussion  instruments.  In  a 
word,  Richard  Wagner  is  our  greatest  master  of  sane  orchestration 
and  brought  our  modern  orchestra  to  its  state  of  perfection. 

ILLUSTRATIONS 

31779     Prelude     (From  "  Lohengrin ")     (Wagner)  La  Scala  Orchestra 

62693     *  Ride  of  Valkyries     (Wagner)  La  Scala  Orchestra 

35246     Siegfried  Death  March     (Wagner)  Victor  Concert  Orchestra 

HINTS  FOR  TEACHERS 

Review  with  class  what  Wagner  brought  to  the  form  of  the  music 
drama  and  why  his  influence  has  been  so  strong  over  modern  art. 


*  No.  62693  is  a  double-faced  record  and  its  other  selection,  Introduction  to  Act  III,  Lohen- 
grin, may  also  be  given  if  desired. 

172 


The     Orchestra 

In  presenting  these  illustrations  be  sure  the  students  understand  the 
poetic  significance  of  the  Lohengrin  "Prelude." 

QUESTIONS 

Which  of  these  selections  could  be  chosen  as  an  example  of  poetic 
thought?  Which  as  program  music?  What  is  the  method  of 
instrumentation  used  in  the  opening  of  the  Prelude  to  "Lohengrin"? 
What  instruments  give  us  the  Grail  theme  in  the  fortissimo  passage? 
What  instruments  are  most  characteristically  used  in  "Ride  of  the 
Valkyries"?  From  what  opera  is  this  selection  taken?  When  does 
it  occur  in  the  opera? 


L 


esson 


XXX 


The  Orchestra  Since  IVagner 

While  there  have  been  many  excellent  examples  of  beautiful 
combinations  of  tone  color  in  the  works  of  the  masters  who  have  fol- 
lowed after  Wagner,  we  find  the  most  remarkable  and  startling  orches- 
tration given  us  by  the  two  greatest  mas- 
ters of  music  to-day,  Richard  Strauss  and 
Claude  Debussy,  who  are  as  extremely 
opposite  in  their  method  of  instrumenta- 
tion as  in  their  style  of  composition.  Let 
us  consider  first  the  great  masters  who 
chronologically  follow  Wagner. 

Brahms — the  disciple  of  absolute 
music  of  the  modern  German  School,  be- 
lieved so  strongly  that  the  essence  of  mu- 
sical invention  was  more  important  than 
its  method  of  expression,  that  we  find  his 
works  give  us  nothing  new  in  instru- 
mental development,  though  we  feel  his 
strength  and  knowledge  of  the  true  beauties  of  the  orchestra  in  every 
measure  of  his  music.  Dvorak  and  Tschaikowsky,  as  do  the  other 
writers  of  Slavonic  countries,  reflect  the  brilliancy  and  almost  bar- 
baric splendor  of  their  native  lands. 

The  Italian   opera  masters  have  used  the  orchestra  more  bril- 


RICHARD    STRAUSS 


173 


The     Orchestra 


L. : 

PETER    ILYTSCH    TSCHAIKOWSKY 


liantly  since  the  days  of  "Wagner,  as  have  also  the  opera  composers  of 
the  French  School.  Franck,  Bizet,  Saint-Saens  and  D'Indy,  of  the 
French  Instrumental  School,  have  all  written  for  the  orchestra  in  an 

individual  manner,  but  it  remained  for 
their  famous  countryman,  Claude  De- 
bussy, to  carry  out  the  extreme  meth- 
ods of  painting  in  tone,  which  caused 
him  to  be  regarded  as  the  most  dis- 
tinctive composer  of  the  present  day. 
Debussy  uses  his  orchestra  as  a  medium 
of  impressionistic  painting  and  his 
tonal  tints  are  so  blended  that  form 
and  story  are  both  lost  in  the  wonder- 
ful maze  of  color.  One  does  not  stop 
to  consider  the  individual  use  of  this 
or  that  instrument,  one  hears  a  sono- 
rous blending  of  tone,  just  as  one  de- 
lights in  the  mingling  of  color  on  the 
canvas  of  the  modern  painter  of  the  impressionistic  school. 

With  Richard  Strauss  we  meet  with  a  genius  who  is  the  exact 
opposite  of  Debussy.  No  one  has  ever  possessed  such  accurate  knowl- 
edge of  the  possibilities  of  the  modern  instruments  as  has  Richard 
Strauss  and  he  stops  at  nothing  in  the  beautiful  or  hideous  combina- 
tions of  tone  he  may  desire  to  use.  All  of  Strauss'  music  is  program- 
matic, and  if  he  desires  to  portray  disagreeable  thoughts  and  ideas, 
he  does  so  quite  as  gladly  as  he  would  portray  beauty.  If  he  desires 
to  turn  the  orchestra  into  a  flock  of  sheep,  as  he  does  in  his  tone  poem 
of  "Don  Quixote,"  he  shatters  all  traditions  by  employing  mutes  for 
the  brasses;  if  he  wishes  to  depict  war,  as  in  "Heldenleben,"  he  uses 
the  full  orchestra,  fortissimo,  playing  in  four  different  keys.  As  all 
his  works  are  in  the  form  of  program  music,  the  tone  poem  being 
his  favorite  medium  of  expression,  Strauss  secures  his  best  effects  by 
extreme  and  highly-colored  instrumentation.  His  themes  are  sub- 
mitted to  a  kaleidoscopic  treatment  of  tonal  combination  and  his 
climaxes  are  achieved  by  dynamic  effects  rather  than  thematic  de- 
velopment. Tn  his  operas,  especially  "Salome"  and  "Electra,"  he 
has  used  the  methods  of  Wagner  regarding  the  characteristic  use  of 
instruments,  but  all  his  works  show  an  insatiable  craving  for  hitherto 
unknown  instrumental  combinations. 


The     Orchestra 


ILLUSTRATIONS 

35275     Largo — New  World  Symphony     (Dvorak)        Victor  Concert  Orch. 
88281     Air  de  Lia — "  L'Enfant  Prodigue  "     (Debussy) 

Mme.  Gerville-Reache 
70050    Marche  Slave     (Tschaikowsky)  Victor  Herbert's  Orchestra 

HINTS  FOR  TEACHERS 

The  tone  poems  of  Debussy  and  Strauss  are  both  too  long  for  a 
good  arrangement  on  a  Victor  record  to  be  possible.  The  methods 
employed  in  the  selections  chosen  are  excellent,  as  they  portray  the  ex- 
treme contrast  of  these  masters  in  presenting  operatic  accompaniments. 
Have  your  pupils  realize  that  we  of  to-day  are  too  near  to  both  De- 
bussy and  Strauss  to  realize  their  great  importance.  Remind  the 
class  that  all  great  composers  have  been  severely  criticized  for  using 
any  new  or  original  thoughts.  In  "Marche  Slave"  point  out  the  his- 
tory of  the  composition  itself  and  show  how  the  use  of  bassoons  and 
horns  depicts  melancholy,  while  the  oboe  and  clarinet  reflect  the  happy 
folk  spirit,  and  the  brasses  at  the  end  show  the  strength  of  patriotism 
by  their  use    of  the  National  Russian  Hymn. 

QUESTIONS 

In  the  first  selection  what  instruments  do  we  hear  in  opening 
theme  ?  What  instruments  give  us  second  subject  ?  What  instruments 
play  the  National  Hymn  at  the  end? 

REVIEW  AND   EXAMINATIONS 

For  review  it  is  suggested  that  a  number  of  records  previously 
heard  should  be  played,  and  that  class  should  designate  the  instru- 
ments and  combinations  which  they  now  hear  in  each.  Note-books 
should  count  in  the  final  marking,  and  for  examination  it  is  suggested 
that  in  addition  to  the  questions,  pupils  should  designate  the  orches- 
tration of  at  least  two  records  previously  heard. 


175 


The   Opera 

COURSE  IV 

Preface 

In  tracing  the  growth  of  the  opera,  we  shall  find  that  it  follows 
very  closely  the  original  plan  of  the  first  music  drama,  which  was  pro- 
duced in  Florence  at  the  end  of  the  Renaissance;  for  in  that  early 
work  "Eurydice,"  are  to  be  found  all  of  those  principles,  which 
Gluck,  Beethoven,  and  "Wagner,  each  strove  to  give  to  the  world,  and 
which  have  become,  as  Wagner  prophesied  they  would  become,  "The 
Music  of  the  Future. ' '  In  their  attempt  to  give  to  the  world  a  Greek 
drama  in  its  original  setting,  the  Florentine  scholars  of  1600  estab- 
lished this  definite  form,  that  music,  drama  and  interpretation  should 
be  of  equal  importance.  Many  changes  came  to  their  original  form 
before  it  was  returned  to  us  by  Wagner,  who  added  all  that  modern 
science  of  musical  expression  could  give. 

Our  Course  has  been  divided  into  thirty  lessons,  during  which 
time  we  shall  study  the  development  of  the  Oratorio  in  relation  to  the 
Opera. 

I.  What  an  Opera  Is. 
II.  The  Opera  to  the  Time  of  Handel. 

III.  The  Oratorio  to  Handel. 

IV.  The  Reforms  of  Gluck. 
V.  The  Operas  of  Mozart. 

VI.  The  Oratorio  After  Handel. 
VII.  Beethoven. 
VIII.  The  German  Romantic  Opera. 
IX.  The  Oratorio  During  the  Romantic  Period. 
X.  The  Opera  at  the  Beginning  of  the  Nineteenth  Century. 
XI.  The  French  Grand  Opera:      (I)  Bellini  and  Donizetti. 
XII.  The  French  Grand  Opera:    (II)  Meyerbeer. 

XIII.  The  Early  Wagner. 

XIV.  Lohengrin. 

XV.  The  Ring  of  the  Nibelungen. 
XVI.  The  Late  Wagner. 
XVII.  The  Rise  of  National  Opera. 
XVIII.  The  Light  Opera  in  the  Nineteenth  Century. 

176 


The     Opera 

XIX.  The  Opera  in  Germany  Since  Wagner. 
XX.  The  Early  Verdi. 
XXI.  The  Late  Verdi. 
XXII.  Opera  in  Italy  Since  Verdi. 

XXIII.  Puccini. 

XXIV.  The  Opera  in  Italy  To-day:    Leoncavallo,  Mascagni,  Wolf- 

Ferrari. 
XXV.  Gounod. 
XXVI.  Bizet. 
XXVII.  Massenet. 

XXVIII.  The  Opera  in  France  To-day. 
XXIX.  The  Modern  Oratorio. 
XXX.  The  Opera  in  America. 


Lesson  I 

What  An  Opera  Is 

We  have  learned  to  recognize  the  four  principles  of  music — 
nationality,  formal  content,  poetic  expression  and  program  music ; 
we  have  traced  their  development  through  the  periods  of  musical  his- 
tory ;  we  have  learned  to  recognize  them  as  they  appear  in  instrumental 
music;  this  year  we  shall  study  their  expression  in  the  Opera  and 
Oratorio. 

The  Opera,  our  largest  musical  form,  is  a  drama,  set  to  music, 
for  solo  voices,  choruses  and  orchestra.     It  consists  of: 

Libretto.- — The  versified  story  of  the  play. 

Score. — The  orchestral  setting,  which  includes  overture,  entr'- 
acte, choruses,  concerted  music  and  solos. 

Overture. — The  orchestral  introduction  to  the  opera.  With 
Wagner  each  act  has  its  own  introduction,  which  is  called  the  Prelude. 

Entr'acte. — The  musical  interlude  between  the  acts,  sometimes 
called  Intermezzo. 

Chorus. — Either  in  parts  or  unison. 

Concerted  Music. — The  duet,  trio,  quartet,  quintet,  sextet,  etc. 

Solo. — Either 

Recitative,  a  tonal  declamation  or  imitation  of  dramatic  speech,  or 

Aria. — A  song,  either  in  two  or  three  period  form,  with  orches- 
tral accompaniment. 

177 


The     Opera 

ILLUSTRATIONS 

88097     Una  voce  poco  fa  ("  Barber  of  Seville  ")    (Rossini)    Mme.  Sembrich 
64188     Hexenritt  (Witch's  Ride)  ("Hansel  and  Gretel") 

(Humperdinck)  Albert  Reiss 

74275     Benediction  of  the  Swords     ("  Les  Huguenots") 

(Meyerbeer)  Journet,  with  Metropolitan  Opera  Chorus 

60074     Intermezzo — Cavalleria  Rusticana     (Mascagni) 

Victor  Herbert's  Orchestra 

HINTS  FOR  TEACHERS 

The  first  two  illustrations  show  the  difference  between  music 
written  for  vocal  display  and  that  which  is  purely  descriptive  of  a 
dramatic  thought.  One  gives  us  an  over-accented  idea  of  the  impor- 
tance of  vocal  display;  the  other  has  sacrificed  the  voice  for  dramatic 
expression.  The  last  two  are  illustrations  of  concerted  music  and 
the  entr'acte.  Have  class  tell  what  other  examples  of  these  forms 
they  have  already  heard. 

QUESTIONS 

To  what  school  does  Humperdinck  belong?  Mascagni?  Which 
of  these  selections  illustrates  virtuosity?  Which  program  music? 
Which  is  dramatic  ?  What  quality  of  voice  is  used  in  the  first — colora- 
tura, lyric  or  dramatic  soprano?  In  what  number  does  the  orchestra 
aid  in  the  thought  interpretation  ?  Which  is  the  strongest  from  a 
dramatic  point  of  view?     Which  form  does  each  number  represent? 

CHORUSES 

Over  the  Summer  Sea  (La  donna  e  mobile,  "Rigoletto")   (Verdi). 
Soldiers'  Chorus,  "Faust"  (Gounod). 


Lesson  II 

Opera  to  the  Time  of  Handel 

We  found  in  our  study  of  Mediaeval  Music,  that  musical  accom- 
paniment was  used  in  all  the  old  mystery  and  miracle  plays,  and  we 
also  noted  its  employment  by  the  Troubadours,  as  a  setting  for  their 
pastoral  operas,  of  which  "Robin  and  Marion,"  by  Adam  de  la  Halle, 
is  the  most  famous  example.  But  the  form  of  the  opera,  which  has 
developed  into  the  music  drama  of  the  modern  day,  was  born  in  Flor- 
as 


LEMVSICHE 

Dl  IACOPO  PERI 

NOBIL  FIORCNTINO 

Sopra  L'Eundicc 
DELS1G  OTTAVIO  RINVCC1NI 

Rjpprcfcnutc  Ncllo  Spon&lizio 
dcUiCriftianikinu 

MARIA    MEDICI 

RECINA  DI  FRANCIA 
E   01   NAVARUA 


T he     O  p  e  r a 

ence  at  the  end  of  the  Renaissance,  through  the  efforts  of  the 
Camerata.  The  first  work,  called  "Dafne, "  by  Peri  and  Rinnuccini, 
appeared  in  1597,  but  as  this  work  was  lost,  our  first  opera  is  in  real- 
ity, "Eurydice,"  which  was  written 
by  the  same  authors,  for  the  marriage 
of  Henry  IV  and  Maria  de  Medici  in 
1600.  The  fundamental  principle  on 
which  the  first  opera  was  founded, 
was  that  music  drama,  and  interpre- 
tation were  of  equal  importance. 
With  the  birth  of  opera,  music  was 
no  longer  confined  to  the  contrapuntal 
polyphony  of  the  Church  School,  and 
this  accounts  for  the  immediate  popu- 
larity of  the  new  form.  By  the  end 
of  the  seventeenth  century  we  find 
many  opera  houses  throughout  Italy 
and  France.  In  Germany  the  center 
of  operatic  activities  were  Vienna  and 
Hamburg,*  but  on  account  of  the 
Thirty  Years'  War,  there  was  little 
or  no  development  of  opera  in  Ger- 
many. 

In  Italy,  the  three  cities,  where  definite  music  schools  had  been 
established  in  the  previous  century,  each  made  contribution  to  the 
form  of  opera;  thus  Rome  perfected  the  choruses  (here  the  oratorio 
was  born),  while  Naples  developed  bel  canto,  or  the  art  of  song;  and 
Venice  brought  the  instrumental  side  of  the  opera,  to  its  great  devel- 
opment. 

The  most  important  school  was  that  of  Venice,  where  the  first 
genius  of  opera  appears,  in  Claudio  Montevcrde  (1567-1643).  Monte- 
verde  in  his  first  opera,  "Orfeo,"  in  1607,  gives  us  our  first  duet  (hith- 
erto each  voice  sang  alone).  In  1624  he  introduced  the  violins  into 
his  orchestra  of  "Tancred,"  using  the  tremulo  to  describe  the  agita- 
tion during  the  duel  scene,  and  the  pizzicati  to  depict  the  sword 
thrusts. 

His  pupil,  Francesco  Cavalli  (1600-1676)  perfected  Monteverde's 
style.     He  grouped  several  voices  in  duets,  trios  and  quartets;  the 

*  One  of  the  earliest  opera  houses  in  Germany  was   that  built  in  Bayreuth,   the   little  town, 
later  made  famous  by  the  erection  of  the  Wagner  Festival  Playhouse. 


IN   FIORENZA 

APPRESSO  GIORGIO  MARFSCOTTI. 
MDC- 


EURYDICE 


179 


: 


'•  •  •  .. 


I  'ii:i:;i;r!t"i 


.  •         •    ••  ' 


FIRST     PAGE,         EURYDICE 


The     Opera 

chorus  becoming  of  secondary  importance.  Cavalli  also  introduced 
into  opera  the  comic  element.  Contemporaneous  with  Cavalli  was 
Giaeomo  Carissimi    (1604-1674),  of  Rome,  who  excelled  in  oratorio 

and  in  the  massing 
^      of  c  h  o  r  a  1  effects. 
His  pupil,  Marc  An- 
tonio   Cesti     (1620- 
1669),  brought  into 
the  Venetian  School, 
the   style   of    Caris- 
simi 's  Oratorio.   But 
the  public  now   de- 
manded their  amuse- 
ment, as  in  the  time 
of  Cavalli,  so  Cesti 
divided     the     opera 
into  two  classes: 
the  Opera  Seria  and 
the  Opera  Buffa. 
Opera  Seria  was  elaborately  staged,  many  different  scenes  being 
employed.     Singers  were  given  every  opportunity  for  vocal  display, 
regardless  of  the   dramatic   effect.     Great   choruses  were   used,   but 
without  dramatic  reason.     The  orchestra  became  but  an  accompani- 
ment and  absurd  dramatic  situations  were  the  result. 

The  Opera  Buffa,  or  Opera  Comique,  retained  more  of  the  dra- 
matic effect,  but  became  frequently  vulgar  and  common.  In  Naples 
the  form  of  Opera  Seria  became  the  most  popular,  as  it  gave  a  greater 
chance  to  the  singers  for  the  display  of  vocal  technique. 

In  these  operas  there  were  always  six  characters;  three  of  each 
sex,  all  lovers.  Three  acts  were  given,  each  terminating  in  an  aria. 
The  same  character  must  not  have  two  airs  in  succession,  and  no  air 
must  be  followed  by  another  of  the  same  class. 

The  principal  airs  should  conclude  the  first  and  second  acts.  The 
second  and  third  acts  should  each  contain  at  least  one  duet  for  hero 
and  heroine,  but  no  trios  and  concerted  numbers  were  to  be  found, 
except  in  Opera  Buffa. 

Alessandro  Stradella  (1645-1681)  employed  the  methods  of  Caris- 
simi in  all  his  works,  but  the  great  importance  of  the  Neapolitan 
School,  was  due  to  the  efforts  of  Alessandro  Scarlatti   (1659-1725), 


180 


The     Opera 


who  is  the  connecting  link  between  the  severe  contrapuntal  school,  and 
the  free  school  of  bel  canto.     With  Scarlatti,  melody  becomes  more 
fluent  and  graceful,  and  arias  take  the  definite  form  of  recitative  and 
aria,  the  recitative  being  given  with  or- 
chestral   accompaniment.      Scarlatti    also 
used    the    form    of    the     overture,     but 
inverted  the  form  of  Lully,   of  France. 
(See  Lesson  XXV,  Course  III.) 

In  England  the  influence  of  the  opera 
made  itself  first  felt  in  the  music  for  the 
masques,  which  were  written  by  William 
and  Henry  Lawes,  Pelham  Humphrey, 
and  others.  Many  of  these  men  studied 
under  Lully,  of  France — and  we  owe  to 
the  French  School  also  the  form  employed 
by  Henry  Purcell  (1658-1695),  the  great- 
est of  the  early  English  Opera  writers. 
Purcell    stood   alone    as    a    composer    of 

English  Opera,  for  with  the  advent  of  George  Frederic  Handel,  Italian 
Opera  takes  the  position  of  supreme  importance  in  England,  as  well 
as  France.  Handel's  early  operas  were  written  for  Hamburg,  but 
in  1706  he  went  to  Italy  and  there  became  imbued  with  the  style  of 
the  Italian  School.  Most  of  Handel's  greatest  works  in  the  form  of 
opera  were  written  for  the  English  public,  as  he  made  his  home  in 
England  from  1710  until  his  death,  1753.  Handel  wrote  forty-two 
operas,  but,  in  spite  of  their  many  beauties,  they  have  long  since 
been  banished  from  the  stage.  Handel  was  a  genius,  who  was  content 
to  employ  existing  forms,  which  he  frequently  brought  to  perfection, 
but  he  never  advanced  any  form  of  musical  art  except  the  oratorio. 
Opera  in  his  day  consisted  of  a  string  of  recitatives  and  arias  with 
an  occasional  duet  or  a  chorus  to  bring  down  the  curtain  at  the  end 
of  each  act.  While  Handel's  genius  infused  rare  beauty  in  many 
of  his  arias,  there  was  no  chance  for  true  dramatic  expression. 


HENRY    PURCELL 


ILLUSTRATIONS 


74155     Largo     ("Xerxes")     (Handel) 

88068     Sweet  Bird     ("  II  Pensieroso  ")     (Handel) 

88189     My  Tears  Shall  Flow     ("  Rinaldo  " 


Charles  Gilibert 
Mme.  Melba 


(Handel) 

Mme.  Schumann-Heinle 


181 


The     Ope r a 

HINTS  FOR  TEACHERS 

These  illustrations  show  the  style  of  aria  in  use  at  Handel's  day. 
We  have  learned  to  associate  the  Largo  with  the  expression  of  reli- 
gious feeling,  yet  we  find  it  here  used  as  an  aria  sung  to  a  tree.  In 
the  soprano  aria,  Handel  used  the  flute  to  imitate  the  song  of  a  bird, 
yet  it  is  also  intended  as  an  opportunity  for  the  voice  to  show  its 
technical  achievements. 

QUESTIONS 
What  feelings  does  the  first  selection  inspire  in  your  mind,  reli- 
gious or  secular?    What  does  the  second?     The  third?    Which  is  the 
best  example  of  bel  canto?     Which  expresses  poetic  tonal  feeling? 
Which  is  imitative  music  ? 

CHORUSES 

Largo,  "Xerxes"  (Handel). 

Haste  Thee,  Nymphs,  "L 'Allegro"  (Handel). 


Lesson  III 

The  Oratorio  to  Handel 

Oratorio  was  born  in  Rome  at  the  end  of  the  sixteenth  century. 
In  the  church  of  St.  Maria  Vallicelli,  the  pious  priest,  St.  Philip 
Neri,  used  to  call  to  his  oratory,  once  every  week,  the  young  people 
of  his  congregation ;  there,  in  his  tiny  room,  they  enacted  scenes  from 
the  Bible.  Finding  that  music,  which  had  always  been  used  with  the 
old  miracle  plays,  would  be  a  further  inspiration  to  his  young  actors, 
St.  Philip  asked  the  aid  of  some  of  the  Church  composers  of  Pales- 
trina's  School  in  Rome,  and  the  "Society  of  Oratorians"  was  the 
result.  The  first  work  to  be  definitely  termed  oratorio  has  the  title 
"The  Life  After  Death."  Its  composer,  Emilio  del  Cavalieri,  died 
before  its  presentation  in  1660  (the  year  "Eurydice"  was  given  to 
the  world),  but  he  left  explicit  directions  as  to  the  production  of  his 
work,  which  show  that  his  principles  were  identical  with  those  of  the 
Camerata  of  Florence. 

The  first  great  master  of  oratorio  was  Giacomo  Carissimi  (1604- 
1684),  of  the  Roman  School.  He  left  more  than  fifteen  oratorios  and 
many  masses  and  other  sacred  works.     Before  the  time  of  Carissimi 

182 


The     Ope r a 

the  only  difference  between  opera  and  oratorio  lay  in  the  fact,  that 
opera  was  secular,  while  oratorio  was  religious  in  text.  Both  were 
given  with  scenery  and  costumes,  and  as  there  was  not  much  dra- 
matic action  in  the  opera,  there  was  little  or  no  difference  in  the  two 
forms.  Carissimi  set  aside  the  idea  of  theatrical  presentation  and 
introduced  into  oratorio,  besides  the  actual  characters,  the  "Nar- 
rator," who  set  forth  the  dramatic  happenings  in  his  recitations. 
Carissimi 's  oratorios  were  always  short,  and  adhered  to  actual  Bibli- 
cal history,  for  he  never  used  his  works  to  glorify  any  Church  saint, 
as  other  composers  had  done.  Carissimi  also  developed  the  cantata, 
a  shorter  dramatic  form,  for  the  employment  of  vocal  recitatives  and 
arias,  and  wrote  both  secular  and  religious  cantatas.  Carissimi  stands 
with  Monteverdi  as  the  most  important  genius  in  Italy  in  the  seven- 
teenth century. 

In  Germany  the  oratorio  becomes  the  vocal  form  of  the  day,  as 
the  expense  of  opera  production,  made  the  music  drama  an  impossi- 
bility. It  is  but  natural  that  the  oratorio  in  Germany  should  be 
divided  into  the  music  used  in  the  Catholic  Church  and  that  employed 
by  the  Lutherans.  The  German  master  who  must  be  remembered  as 
the  dominating  figure  of  this  period  is  Heinrich  Schiitz  (1585-1672), 
who,  although  trained  in  Italy,  was  essentially  German  in  his  serious 
aspect  toward  art.  Schiitz  paved  the  way  in  church  music  for  the 
advent  of  the  great  Bach.  In  his  German  oratorios  one  finds  a  form 
far  removed  from  the  opera,  but  which  is  suitable  for  religious  con- 
certs, and  for  use  in  church.  Schiitz  uses  the  "Narrator"  as  an 
important  personage  in  his  works  and  also  employs  chorales,  as  if 
they  were  the  voice  of  the  audience.  He  developed  the  form  known 
as  Passion  Music,  that  is,  the  musical  setting  of  the  narratives  of  the 
Gospels,  regarding  the  Passion  of  Christ.  Schiitz  is  also  said  to  have 
written  a  German  "Singspiel"  on  the  original  libretto  of  "Dafne," 
but  as  this  was  lost,  it  is  of  little  or  no  significance  on  later  German 
operatic  development. 

In  France  we  find  very  little  interest  in  oratorio,  the  masses  of 
the  French  Catholic  Church  being  the  favorite  forms  of  religious 
expression  in  music. 

In  England,  the  Italian  oratorio  form  was  introduced  by  Handel, 
who  established  the  popularity  of  the  work  by  decreeing  it  to  be  a 
concert  form  not  confined  to  the  church  service.  But  between  the 
operas  and  oratorios  of  Handel  there  is  little  dramatic   difference. 

183 


GEORGE     FREDERIC     HANDEL 


The     Opera 

The  chief  musical  difference  lies  in  the  marvelous  choruses  which 
Handel  employed  in  his  oratorios,  and  which  give  us  our  best  idea 
of  his  great  contrapuntal  skill.    His  joining  of  the  recitative  and  aria 

resulted  in  a  type  for  English  ora- 
torio, which  lias  caused  Handel's 
works  in  this  form  to  live  after  his 
operas  have  become  obsolete.  When 
the  "Messiah,"  Handel's  greatest 
oratorio,  was  produced,  at  a  concert 
in  Dublin,  the  ladies  were  requested 
to  come  without  their  hoops  and  the 
gentlemen  without  their  swords,  that 
there  might  be  more  room  in  the  hall. 
This  gives  us  an  idea  of  Handel's 
popularity,  but  it  also  points  a 
marked  contrast  between  the  oratorios 
of  Handel  and  those  of  Bach,  whose 
works  all  bear  the  inscription,  "To 
the  Glory  of  God  Alone,"  and  were 
in  reality  written  only  for  the  Church  service,  and  never  for  the 
concert  hall. 

In  Bach's  day  the  organist  and  choir  director  was  obliged  to 
write  new  music  for  each  church  service,  so  we  have  a  great  number 
of  truly  religious  wyorks  from  Bach.  These  are  in  the  form  of  the 
Passion  Music  (Bach  gave  us  four  settings,  taken  from  the  four 
Apostles),  Church  Oratorios  (of  which  "The  Christmas  Oratorio" 
is  the  most  famous),  and  Church  Cantatas,  which  were  sung  between 
the  parts  of  the  service. 

ILLUSTRATIONS 
85103     He  Shall  Feed  His  Flock     ("Messiah")      (Handel)        Louise  Homer 
74126     Recitative  and  Air,  Behold  and  See      ("Messiah")     (Handel) 

'  Evan  Williams 

31770     Hallelujah  Chorus     ("Messiah")     (Handel) 

Victor  Chorus  with  Sousa's  Band 

HINTS  FOR  STUDY 

In  presenting  Handel's  "Messiah"  to  your  class,  outline  the  pas- 
sages from  the  Bible  that  Handel  has  used  for  his  text.  If  time 
makes  it  possible,  give  as  illustration  also  the  aria,  "And  the  Trumpet 
Shall  Sound,"  which  we  heard  in  Course  III. 


184 


The     O p e r 


QUESTIONS 
What  voice  sings  the  first  selection — mezzo-soprano  or  contralto? 
"What  voice  sings  the  second  ?     The  third  ?    How  is  the  orchestra  em- 
ployed in  these  selections?     Are  these  selections  illustrative  of  poetic 
tonal  quality,  or  of  program  music  ? 


CHORUSES 

And  the  Glory  of  the  Lord,  "Messiah"  (Handel). 
Hallelujah  Chorus,  "Messiah"  (Handel). 


L 


esson 


IV 


The  Reforms  of  Gluck 

The  first  French  Opera  was  produced  in  1659,  and  was  the  work 
of  Pietro  Perrin  (  -1675),  but  we  find  no  definite  School  of  Opera 
established  in  France,  until  the  advent  of  Giovanni  Lully  (1633-1687). 
Lully  was  an  Italian,  who  went  to  Paris  in  the  suite  of  the  Duke  of 
Guise,  and  he  held  for  many  years  the  exclusive  right  to  produce  opera 
in  France.  Most  of  the  Lully  works 
were  musical  settings  for  the  plays  of 
Moliere:  in  these  he  attempted  to 
follow  the  text  and  adapted  the  music 
to  the  words,  but  employed  no  airs, 
duets,  or  adornments  to  aid  him  in 
his  musical  delineation.  Lully  en- 
larged the  overture  into  the  form 
known  as  Lully  Overture.  (See  Les- 
son XXV,  Course  III.) 

Jean  Phillippe  Rameau  (1683- 
1764)  carried  on  Lully 's  traditions, 
but  as  he  had  a  much  greater  knowl- 
edge of  the  technical  side  of  his  art, 
he  gave  a  richer  and  more  original 
method  of  treatment  to  the  orchestra, 
introducing  new  and  original  effects.  But  Rameau 's  great  importance 
lies,  in  the  influence,  which  his  music  exerted  over  Christoph  Willibald 
Gluck  (1714-1787),  the  first  great  reformer  of  the  Music  Drama. 


JEAN     PHILIPPE     RAMEAU 


185 


CHRISTOPHER      WILLIBALD      CLUCK 


i  h  e      Ope  r  a 

Gluck  was  born  in  Austria  near  Vienna,  but  his  first  study  of 
operatic  forms  was  in  Italy.  After  the  production  of  several  con- 
ventional   Italian    operas    had    brought    him    considerable    fame,   he 

made  his  way  to  England,  where  Handel 
was  then  in  the  zenith  of  his  power.  But 
realizing  the  need  for  further  study,  and 
feeling  dissatisfied  with  existing  opera  condi- 
tions, Gluck  visited  Paris,  and  was  much  im- 
pressed with  the  works  of  Rameau.  Return- 
ing to  Vienna,  he  once  more  pursued  his 
serious  studies  with  the  constant  thought  in 
mind,  that  a  closer  relationship  of  music, 
and  drama  must  be  re-established.  In  1764 
"Orfeo,"  in  which  he  worked  out  his  many 
theories,  was  produced ;  but  it  was  not  until 
1767,  when  "Alceste"  was  given  to  the 
world,  that  the  principles  of  the  music  drama,  were  boldly  proclaimed. 
In  the  preface  to  his  ' '  Alceste ' '  Gluck  avows  these  principles,  as  being 
the  fundamental  ideas  on  which  the  music  drama  was  originally  built, 
and  declares  them  to  be  the  foundation  for  all  opera  to  come. 

"When  I  undertook  to  compose  the  music  for  'Alceste,'  my 
intention  was  to  rid  it  of  all  those  abuses  which,  introduced  either 
through  the  mistaken  vanity  of  singers,  or  the  over-indulgence  of  com- 
posers, have  so  long  disfigured  Italian  Opera,  and  turned  the  finest 
and  most  pompous  spectacle,  into  the  most  ridiculous  and  tedious. 
I  wished  to  reduce  music  to  its  true  function,  which  is  to  second  poetry 
in  expressing  the  emotions  and  situations  of  the  play,  without  inter- 
rupting the  action  nor  chilling,  it  with  the  useless  and  superfluous 
ornaments.  I  accordingly,  have  wished,  neither  to  stop  an  actor, 
where  the  dialogue  is  at  its  warmest,  in  order  to  let  the  orchestra 
play  a  tedious  ritornello,  nor  to  hold  him  back  on  a  favorite  vowel, 
in  the  middle  of  a  word,  that  he  may  either  show  off  the  agility  of 
his  fine  voice  in  a  long  roulade,  or  wait  for  the  orchestra  to  give 
him  time  to  take  breath  for  a  cadenza.  I  have  deemed  that  the  over- 
ture ought  to  apprize  the  spectator  of  the  action  to  be  represented, 
and,  so  to  speak,  constitute  itself  the  argument;  that  the  co-operation 
of  the  instruments  should  be  determined  proportionately  to  the  inter- 
est and  passion  of  a  scene,  and  that  no  sharp  contrast  between  air  and 
recitative  should  be  left  in  the  dialogue,  so  as  not  to  stunt  the  period 


186 


The     Opera 

out  of  all  reason,  nor  inappropriately  interrupt  the  vigor  and  warmth 
of  the  action.  I  have  believed,  furthermore,  that  my  greatest  efforts 
should  be  reduced  to  seeking  for  a  beautiful  simplicity,  and  have 
avoided  making  a  display  of  difficulties,  to  the  prejudice  of  clearness: 
the  discovery  of  a  novelty  has  not  semed  admirable  in  my  eyes,  except 
in  so  far  as  it  was  naturally  suggested  by  the  situation,  or  helpful  to 
the  expression :  and  there  is  no  rule  of  form  which  I  have  not  thought 
best  ivillingly  to  sacrifice  to  the  effect.    These  are  my  principles." 

ILLUSTRATIONS 

74249     Nightingale's  Passion  Song     (Rameau)  Mme.  Gluck 

88286     Fatal  divinita— Ye  Gods  of  Fate     ("Alceste")      (Gluck) 

Mme.  Homer 
88091     I  Have  Lost  my  Eurydice     ("Orfeo")      (Gluck) 

Mme.  Schumann-Heink 

HINTS  FOR  TEACHERS 
Notice  the  use  of  classical  subject  matter  in  Gluck 's  librettos. 
The  use  of  the  contralto  voice  should  be  observed.*     Students  should 
also  note  the  use  of  the  orchestra  in  the  accompaniment. 

QUESTIONS 

Which  voice  sings  the  first  selection?     The  second?     The  third? 
Which  is  an  example  of  poetic  thought?     Which  is  imitative  music? 

CHORUSES 

Lift  Up  Your  Heads  (Gluck). 
See,  What  Grace  (Gluck). 
The  Broken  Ring  (Gluck). 


Lesson  V 

The  Operas  of  Mozart 

We  have  already  studied  the  interesting  experiences  of  the  youth- 
ful prodigy  of  music,  Wolfgang  Amadeus  Mozart  (1756-1791),  in  the 
domain  of  the  purely  instrumental  music ;  we  shall  now  see  how  great 
was  his  influence  on  opera. 


*  Gluck  was  very  partial  to  the  contralto  voice.     Note   that   it  is    here   used    to   portray   the 
character  of  a  man,  Orpheus. 

187 


The     Opera 


It  must  be  remembered  that  Mozart  was  influenced,  at  the  courts 
of  Salzburg  and  Vienna,  by  the  Italian  Opera  of  the  day,  and  it  was 
not  until  his  visit  to  Paris  in  1778  that  he  became  acquainted  with 

the  reforms  of  Gluck,  and  learned 
to  know  the  true  possibilities  of 
the  music  drama.  Mozart's  early 
operas  before  this  period,  are 
rarely  given,  his  first  great  work 
after  his  return  to  Germany  be- 
ing "Idomeneo,"  which  was  pro- 
duced in  1781.  This  opera  was 
modeled  after  a  French  work  on 
the  same  subject,  but  the  music  is, 
for  the  most  part,  purely  Italian 
in  form.  There  is  one  important 
point  in  this  work,  however,  which 
must  be  noted.  For  the  first  time 
the  chorus  becomes  a  part  of  the 
action  on  the  stage  and  is  no 
longer  retained  as  a  passive  spec- 
tator to  the  scene.  The  orches- 
tration of  ' '  Idomeneo ' '  is  superior 
to  any  we  have  yet  found  in  opera. 
Mozart's  next  opera,  "Die  Entfiihrung  aus  dem  Serail"  ("The 
Elopement  from  the  Serail"),  was  produced  in  1782,  and  followed  the 
old  German  form,  of  his  early  works.  With  his  famous  work,  "Le 
Nozze  di  Figaro"  ("The  Marriage  of  Figaro")  (1786),  Mozart 
shows  us  his  rarest  dramatic  genius,  for  this  charming  comedy  adapts 
itself  wonderfully  to  the  form  of  Opera  Buff  a  which  Mozart  chose 
as  its  medium  of  expression. 

In  his  next  work,  "Don  Giovanni"  (French  "Don  Juan"),  which 
was  produced  in  Prague  in  1787,  we  find  that  the  extremely  compli- 
cated libretto  has  been  so  wonderfully  adapted  by  Mozart,  that  "Don 
Giovanni"  will  ever  be  regarded  as  one  of  the  few  immortal  musical 
works  in  the  old  form  of  opera. 

Of  "Cosi  fan  Tutti"  (1790)  and  "La  Clemenza  di  Tito"  (1791) 
little  need  be  said,  both  were  hurriedly  written  and  do  not  show  the 
strength  of  Mozart's  genius  as  do  the  works  which  have  been  men- 
tioned. 


WOLFGANG    AMADEUS     MOZART 


188 


The     Opera 

Mozart's  last  opera,  "Die  Zauberflote,"  was  produced  a  month 
later  than  "Clemenza  di  Tito,"  but  was  really  written  previously. 
Mozart  attempted  to  defend  the  dramatic  absurdities  and  impossibili- 
ties of  "The  Magic  Flute,"  by  giving  the  world  to  understand  that 
it  was  full  of  allegorical  significance  in  the  struggle  and  triumph  of 
Free  Masonry.  While  this  is  not  easy  to  credit  and  the  dramatic 
inanities  of  "The  Magic  Flute"  still  must  be  acknowledged;  the  fact 
remains  that  Mozart  never  gave  us  any  greater  example  of  his  con- 
summate dramatic  gift  than  in  the  music  written  for  this  work.  As 
Jahn  so  aptly  expresses  it,  "  If  in  his  Italian  operas  Mozart  assimilated 
the  traditions  of  a  long  period  of  development  and  in  some  sense  put 
the  finishing  stroke  to  it,  with  'Die  Zauberflote'  he  treads  on  the 
threshold  of  the  future  and  unlocks  for  his  countrymen  the  sacred 
treasure  of  national  art. " 

ILLUSTRATIONS 

88067  Voi  che  sapete     ("The  Marriage  of  Figaro  ")  Mme.  Melba 

64163  A  Bird  Catcher  am  I     ("The  Magic  Flute  ")  Otto  Goritz 

85042  Invocation     ("  The  Magic  Flute  ")  Pol  Plancon 

89015  Duet — La  ci  darem  la  mano     ("  Don  Giovanni  ")  Farrar  and  Scotti 

HINTS  FOR  STUDY 

These  selections  show  three  phases  of  the  opera  of  Mozart's  day. 
The  second  is  in  a  form  copied  from  the  Opera  Buffa  which  is  known  as 
a  "Patter  Song."  This  always  served  to  introduce  the  actor  and  to 
tell  his  business.  Here  Papageno  sings  of  his  profession,  that  of 
"Bird  Catcher."  This  style  always  possessed  a  comic  element.  In 
the  third,  the  Invocation,  we  have  an  example  of  the  deep  basso  pro- 
fundo  which  was  a  favorite  voice  at  the  time  of  Mozart.  In  the  first 
a  beautiful  example  of  the  coloratura  style  of  bel  canto,  in  which 
Mozart  excelled.  Note  the  same  type  in  the  duet  from  "Don 
Giovanni." 

QUESTIONS 

Which  illustration  was  sung  by  baritone?  Which  by  basso? 
What  quality  of  soprano  was  noticeable  in  the  first?  Which  one  of 
these  arias  is  descriptive  ?    Does  the  orchestra  aid  in  this  description  ? 

CHORUSES 

0,  Isis  and  Osiris  (Lovely  Peace),  ("Magic  Flute").  (Mozart.) 
Away    With    Melancholy     (Such    Chimes    Melodious,     "Magic 
Flute").     (Mozart.) 

189 


The     Opera 

I  Am  a  Fowler,  "Magic  Flute"  (Mozart). 

The  Blacksmith,  "Marriage  of  Figaro"  (Mozart). 

Who  Treads  the  Path  of  Duty  (Mozart). 


Lesson  VI 

Oratorio  After  Handel 

We  found  that  at  the  time  of  Handel,  the  most  popular  forms 
of  sacred  music  were: 

ITALY,  FRANCE  AND   ENGLAND. 

The  Oratorio A  Concert  Form. 

The  Mass A  Church  Form. 

GERMANY. 

Passion  Music | 

Church  Cantatas \  All  for  Church  Service. 

Oratorios J 

The  greatest  interest  in  the  oratorio  was  found  in  England, 
and  it  was  there  that  Handel's  greater  works  were  written  and  pro- 
duced on  the  concert  stage.  In  Germany  the  works  of  Bach  were  all 
actually  intended  for  church  service. 

At  the  time  of  Haydn  and  Mozart  the  interest  in  opera,  reawak- 
ened by  Gluck's  endeavors,  had  spread  through  Italy,  France  and 
England,  while  the  new  instrumental  forms,  which  Haydn  crys- 
tallized, were  occupying  the  attention  of  the  musical  minds  of  Ger- 
many and  Austria.  Haydn's  greatest  works  were  his  quartets  and 
symphonies.  He  left  a  number  of  operas  which  are  obsolete,  a  few 
simple  songs,  and  a  number  of  masses,  still  sung  in  the  Catholic 
Church.  But  his  greatest  vocal  efforts  were  his  two  oratorios,  "The 
Creation"  and  "The  Seasons."  These  were  written  late  in  Haydn's 
career,  after  his  visits  to  England,  and  reflect  very  decidedly  the 
influence  of  Handel.  Haydn  made  a  strong  point  of  the  use  of 
his  instruments  in  connection  with  these  works,  and  his  choruses 
are  most  effective. 

Mozart,  we  have  foimd,  wrote  in  all  forms,  and  his  masses  which 
are  in  the  same  style  as  his  operas,  are  very  popular  in  the  Catholic 
Church  to-day.  His  last  great  work  was  in  the  form  of  a  mass,  which 
is  considered  his  greatest  choral  composition. 

190 


The     Opera 

Beethoven  left  one  remarkable  oratorio  called  "The  Mount  of 
Olives,"  but  this  work  and  his  "Missa  Solennis  in  D"  are  both  concert 
works  rather  than  compositions  for  church  service.  Beethoven's 
greatest  writing  for  the  chorus  is  found  in  the  Finale  of  the  "Ninth 
Symphony. ' ' 

ILLUSTRATIONS 
60055     With  Verdure  Clad     ("The  Creation  ")  Lucy  Marsh 

74250    In  Native  Worth     ("  The  Creation  ")  George  Hamlin 

31589     Gloria  from  Twelfth  Mass     (Mozart)  Lyric  Quartet 

HINTS  FOR  TEACHERS 
Point  out  the  difference  in  the  attitude  of  the  Catholic  and  Lu- 
theran Churches  toward  music.  The  use  of  the  choruses  of  the  con- 
gregation in  the  Lutheran  Church.  Remember  that  the  influence  of 
the  Court  of  Vienna  was  Catholic.  Explain  the  difference  between 
oratorio  and  mass.  Review  Haydn's  influence  on  development  of 
orchestra,  Lesson  XXVI,  Course  III. 

QUESTIONS 
What  voice  sang  the  first  selection?    What  quality  of  soprano  is 
used?     What  voice  sang  the  second?     Did  the  orchestra  accompani- 
ment contribute?    In  what  language  were  masses  written? 

CHORUSES 
Gloria,  "Twelfth  Mass"  (Mozart). 
The  Heavens  Are  Telling,  "Creation"  (Haydn). 
With  Verdure  Clad,  " Creation "  (Aria).     (Haydn.) 
With  Joy  the  Impatient  Husbandman,  "The  Seasons"  (Haydn). 
Ode  to  Joy,  "Ninth  Symphony"  (Beethoven). 


Lesson  VII 

Beethoven 
In  considering  Beethoven  in  relation  to  the  development  of  the 
modern  music  drama,  we  must  realize  that  Beethoven  lived  at  a  period 
when  superficial  display,  especially  as  manifested  at  the  Court  of 
Vienna,  brought  little  or  no  realization  of  the  true  artistic  worth  of 
any  art. 

191 


T he     Op e r a 


The     Opera 

In  the  purely  instrumental  forms  it  was  easier  for  Beethoven's 
true  greatness  to  stand  revealed,  for  there  was  practically  no  stand- 
ard for  comparison,  but  with  the  opera,  the  Viennese  public  had  be- 
come familiar  with  the  saccharine  sweetness  of  the  Italian  School, 
and  refused  to  accept  any  dramatic  work,  which  did  not  consider  the 
singer  of  greater  importance  than  the  music,  or  the  story. 

Beethoven  made  but  one  attempt  at  dramatic  composition,  choos- 
ing for  his  subject  an  old  Spanish  tale,  which  had  been  popular  in 
France,  and  which  was  known  as  "Leonore."  This  work  appeared 
first  in  Vienna  in  1805  during  the  French  occupation.  It  was  hardly 
an  auspicious  time  for  the  presentation  of  a  work,  in  which  "sim- 
plicity and  truth"  were  once  more  acknowledged  as  "the  sole  princi- 
ples of  art."  "Leonore"  was  a  failure  and  was  withdrawn  after  but 
three  performances.  The  following  year  the  work  was  rewritten  with 
a  new  overture  and  presented  twice.  In  1814  Beethoven  again  re-wrote 
the  work  and  under  the  title  of  "Fidelio"  it  was  received  with 
moderate  success.  "Fidelio"  was  the  second  opera  after  "Magic 
Flute"  to  be  written  in  the  form  of  the  "Singspiel,"  that  is,  with 
spoken  dialogue.  Although  the  work  was  not  accepted  by  the  music- 
lovers  of  Beethoven's  day,  "Fidelio"  is  without  question  the  great- 
est German  opera  from  Mozart  to  von  Weber.  But  it  is  in  the  music 
alone  that  "Fidelio"  is  great,  for  the  libretto  is  weak,  and  there- 
fore the  opera  is  not  a  perfect  type  of  music  drama,  for  the  unity 
between  music  and  poetry  does  not  exist.  The  true  dramatic  great- 
ness of  "Fidelio"  is  felt  the  strongest  in  the  second  overture  written 
for  the  work,  which  we  know  as  "Leonore  No.  3."  Beethoven  wrote 
three  "Leonore"  overtures  and  one  "Fidelio"  overture.  The  great- 
est is  the  "Leonore  No.  3,"  which  was  written  for  the  second  per- 
formance of  the  opera  in  1806. 


35268 


ILLUSTRATIONS 

Leonore  Overture,  No.  3  (Part  I)  ("Fidelio")  Victor  Concert  Orch 

Leonore  Overture,  No.  3  (Part  II)   ("Fidelio")  Victor  Concert  Orch 

35269'  Leonore  Overture,  No.  3     (Part  III)     ("Fidelio")       Vessella's  Band 

\   Adagio  from  Fourth  Symphony  Vessella's  Band 

64165     Fateful  Moment     ("Fidelio")  Otto  Goritz 

35245     Chorus  of  Prisoners     ("Fidelio")  Victor  Male  Chorus 

HINTS  FOR  TEACHERS 

In  presenting  Beethoven  as  an  opera  composer,  review  briefly  the 
previous  lessons  on  Beethoven  in  Courses  II  and  III,  and  note  the 

193 


The     Opera 

period  in  which  he  lived.  The  story  of  "Fidelio"  can  be  told  and  a 
strong  point  made  of  the  dramatic  moment  when  the  trumpet  call 
outside  announces  the  arrival  of  the  Governor.  That  is  a  principle 
which  Wagner  accents  in  his  music  drama  as  "Making  the  audience 
a  part  of  the  being. ' ' 

QUESTIONS 
What  voice  sang  the  first  selection?    In  what  manner  is  this  aria 
written?    Is  it  program  music  or  poetic  in  character?     What  instru- 
mental effects  do  you  particularly  notice? 

CHORUSES 

The  Gypsies'  Song  (Beethoven). 
Serenade  from  "Fidelio. " 
Morning  Hymn  (Beethoven). 
The  Skies  Resound  (Beethoven). 


L 


ess  on 


VIII 


German  ''Romantic  Opera 

The  true  founder  of  the  German  Romantic  Opera  was  Carl  Maria 
von  Weber  (1786-1826),  who,  with  the  great  opera,  "Der  Freischutz," 
gave    the    German    people    their    first   national    opera.      This    work, 
produced  in  1821,  in  Berlin,  is  based  on  a  German  folk-tale,  and  Ger- 
man folk-music   was   used  by  von   Weber 
throughout  the  work,  which  was  sung  in 
the  German  tongue,  by  German  singers. 

Von  Weber's  musical  education  was 
pursued  in  Vienna  under  Michael  Haydn 
and  the  great  Abbe  Vogler,  who,  it  is  said, 
first  called  his  pupil's  attention  to  the  pos- 
sibilities of  German  folk-music.  His  early 
operas  were  not  successful,  but  with  "Der 
Freischutz"  he  became  the  acknowledged 
leader  of  German  Romanticism.  With 
"Euryanthe"  (1823),  his  next  work,  he 
was  not  as  fortunate,  for  the  libretto  by 
Wilhelmina  von  Chezy  is  as  absurd  as  the 
effort  she  produced  for  Schubert's  "Rosa- 


The     Opera 


munde. "  Von  Weber's  last  work  was  "Oberon,"  produced  in  Eng- 
land in  1826,  shortly  before  the  death  of  the  composer.  With 
"Oberon"  von  Weber  opened  up  the  realms  of  fairyland,  and  made 
possible  the  later  musical  pictures  of  gnomes  and  elves. 

The  Romantic  Opera  of  von 
Weber  is  the  connecting  link  be- 
tween the  old  "Singspiel"  and 
the  German  Music  Drama  of  Wag- 
ner. As  it  was  a  union  of  the 
supernatural  with  events  of  every- 
day, it  was  drawn  from  modern 
folk  life  as  well  as  from  mediaeval 
legend.  It  thus  combined  the 
national,  the  comic  and  the  real- 
istic, with  the  purely  imaginative. 

The  two  great  contempora- 
ries of  von  Weber  in  Germany 
were  Spohr  and  Marschner. 

Ludwig  Spohr  (1784-1859) 
was  a  great  violinist  as  well  as 
opera  composer.  His  misfortune 
was  that  his  works  were  so  over- 
shadowed by  von  Weber's  greater 
genius,  that  we  do  not  give  Spohr  the  credit  due  him  for  his  excellent 
operas  of  "Faust"  (1818)  and  "Jessonda"  (1823).  Spohr 's  most 
remarkable  work  was  done  in  the  writing  of  his  overtures  and  the 
masterly  accompaniments  to  his  arias.  He  possessed  the  imagination 
but  not  sufficient  freedom  of  expression  to  make  any  advance  from  the 
old  set  forms  of  opera. 

Heinrich  Marschner  (1795-1861)  was  a  genius  more  nearly  resem- 
bling von  Weber,  for  he  possessed  a  skill  in  depicting  folk  simplicity, 
as  well  as  the  weird  and  supernatural.  His  dramatic  judgment  was 
always  sound  and  his  orchestral  resources  were  remarkable.  His 
greatest  works  were  "Der  Vampyr"  (1828)  and  "Hans  Heiling" 
(1833),  operas  which  are  still  very  popular  on  the  German  stage. 


STATUE     OF      VON      WEBER     IN      DRESDEN 


ILLUSTRATIONS 

62636-^  ^a-*  Overture     ("  Der  Freischiitz  ") 

\  (b)  Prayer  of  Agatha     ("  Der  Freischiitz") 
74244     Through  the  Forest     ("  Der  Freischiitz  ") 
64236     Caspar's  Air     ("  Der  Freischiitz  ") 


La  Scala  Orchestra 

Emilia  Corsi 

Daniel  Beddoe 

Marcel  Journet 


195 


The      Opera 

HINTS  FOR  TEACHERS 

Give  synopsis  of  story  of  "  Freischutz. "  This  legend  of  the  re- 
deeming love  of  woman,  is  fundamentally  the  same  as  "Don  Juan." 
"Manfred,"  "Faust."  Show  how  these  selections  are  of  dramatic 
importance. 

QUESTIONS 

What  instrumental  effect  is  noticeable  in  opening  of  the  over- 
ture? With  what  instrumental  effect  does  von  Weber  describe  the 
magic  of  the  "Wolf's  Glen"  in  the  overture?  Which  quality  of 
soprano  is  heard  in  the  Prayer?     What  voice  sings  the  third? 

CHORUSES 

Hunting  Song,  "Freischutz"  (von  Weber). 
Boat  Song,  "Oberon"  (von  Weber). 

HYMNS 

Seymour,  (von  Weber). 

My  Jesus,  As  Thou  Wilt  (von  Weber). 

Come,  Ye  Disconsolate  (von  Weber). 


Lesson  IX 

The  Oratorio  "During  the  Romantic  Period 

One  of  the  greatest  elements  in  the  rise  of  the  Romantic  School  in 
Germany,  was  the  discovery  of  the  Bach  manuscripts  in  Leipsic  in 
1828.  The  Bach  Society,  of  which  Schumann  and  Mendelssohn  were 
eager  members,  gave  to  the  world  the  greatest  works  of  Bach's,  many 
of  which  had  remained  lost  to  the  world  since  the  day  of  their  com- 
poser. The  interest  in  the  production  of  Bach's  "St.  Matthew's  Pas- 
sion," in  1828,  led  Mendelssohn  to  seriously  study  Bach's  greatest 
sacred  works.  The  popularity  of  the  gifted  young  German  composer 
and  conductor  spread  through  Europe  to  England,  and  during  his 
visits  to  London  Mendelssohn  became  imbued  with  a  love  for  Handel's 
oratorios,  which  had  been,  for  a  hundred  years,  the  favorite  concert 
works  of  England.  It  is  but  natural  that  in  his  oratorios,  Mendels- 
sohn should  have  combined  his  enthusiasm  for  both  Handel  and  Bach. 

196 


The     Opera 

In  his  chorales  and  contrapuntal  choruses,  the  spirit  of  Bach  is 
reflected,  while  in  the  general  form  of  oratorio  for  concert  produc- 
tion, the  genius  of  Handel  is  openly  copied  by  Mendelssohn  in  both 
"St.  Paul"  and  "Elijah."  In  "The  Hymn  of  Praise,"  Mendelssohn 
follows  the  ideas  of  Beethoven's  choral  Finale  of  the  Ninth  Sym- 
phony. Mendelssohn  shows  his  own  individuality  in  the  characteriza- 
tion of  his  orchestration,  and  in  his  fluent  melodic  solo  numbers.  No 
such  oratorios  have  been  given  to  the  world  since  Handel. 

Schumann  wrote  no  oratorios,  but  left  several  masses  which  are, 
however,  rarely  given.  His  best  choral  work  was  "Paradise  and  the 
Peri,"  a  cantata. 

In  the  French  Romantic  School  we  find  Berlioz  constantly  using 
the  forces  of  a  chorus,  in  connection  with  his  orchestral  works.  His 
masses  are  still  used,  but  his  oratorio,  "The  Infancy  of  Christ,"  has 
been  rarely  heard  outside  of  France. 

Franz  Liszt  left  two  masses  and  two  oratorios,  "Holy  Eliza- 
beth" and  "Christus,"  being  strong  dramatic  works  which  are  sup- 
ported by  the  highly-colored  orchestrations  of  this  gifted  composer. 

Several  of  the  Grand  Opera  writers  left  oratorios,  masses  and  so- 
called  religious  works,  although  they  hardly  are  to  be  distinguished 
from  their  operas  in  character.  Of  these  the  most  notable  example  is 
Rossini's  "Stabat  Mater,''  a  setting  of  the  most  sacred  text  of  the 
Church  service,  to  the  identical  music  Rossini  would  have  used  for 
any  of  his  operas. 

The  greatest  truly  religious  works  of  the  Romantic  School  were 
Mendelssohn  oratorios,  "St.  Paul"  and  "Elijah." 

ILLUSTRATIONS 

70037     Inflammatus— "  Stabat  Mater  "     (Rossini) 

Lucy  Marsh  and  Victor  Chorus 
74093     Cujus  Animam — "  Stabat  Mater  "     (Rossini)  Evan  Williams 

88191     But  the  Lord  is  Mindful  of  His  Own—"  St.  Paul  "     (Mendelssohn) 

Mme.  Schumann-Heink 
74088  If  With  All  Your  Hearts— "  Elijah  "  (Mendelssohn)  Evan  Williams 
74082     It  is  Enough — "Elijah"     (Mendelssohn)  Herbert  Witherspoon 

HINTS  FOR  STUDY 

As  we  have  already  heard  the  records  from  "St.  Paul"  and 
"Elijah,"  it  is  suggested  that  a  comparative  study  be  made  between 
the  religious  expression  of  "Elijah,"  and  the  operatic  character  of 
"Stabat  Mater." 

197 


The      Opera 

Two  arias  by  the  same  singer  have  been  chosen,  that  the  class 
may  more  clearly  feel  that  it  is  the  music,  not  the  interpreter,  which 
makes  the  great  difference  in  the  character  of  these  works.  The  tenor 
selections  from  both  "Elijah"  and  "Stabat  Mater"  are  of  the  same 
poetic  character,  but  note  how  differently  they  are  expressed  in  the 
music.  A  very  strong  point  should  be  made  here  of  the  difference 
between  religious  and  secular  feeling.    No  questions  are  necessary. 

CHORUSES 
Baal,  We  Cry  to  Thee,  "Elijah''  (Mendelssohn). 
How  Lovely  Are  the  Messengers,  "St.  Paul"  (Mendelssohn). 
Lord  God  of  Abraham,  "Elijah"   (Mendelssohn). 
He.  Watching  Over  Israel,  "Elijah"  (Mendelssohn). 
Lift  Thine  Eyes.  "Elijah"  (Mendelssohn). 


Lesson  X 

Opera  at  the  beginning  of  the  Nineteenth  Century 

Although  Gluck's  interest  wras  chiefly  centered  in  the  form  of 
Opera  Seria,  we  find  many  excellent  composers  using  the  form  of 
Opera  Buffa  even  before  the  time  of  Gluck,  and  it  is  interesting  to 
note  that  much  greater  care  was  taken  in  the  development  of  instru- 
mental forms  in  the  Opera  Buffa  than  in  the  Opera  Seria.  The  over- 
ture to  the  Opera  Buffa  was  a  collection  of  the  most  pleasing  airs 
from  the  opera.  It  was  not  modeled  on  either  the  Lully  or  Scarlatti 
pattern  (see  Lesson  XXV,  Course  III),  being  what  we  know  to-day 
as  the  Italian  Potpourri  Overture.  But  in  the  entr'actes  and  dances, 
great  interest  was  taken,  which  in  France,  led  to  the  establishment 
of  the  ballet. 

The  names  particularly  to  be  remembered  in  the  Opera  Buffa 
School  are: 

Giovanni   Pergolesi    (1710-1736).     Wrote   an   epoch-making 

work  in  "La  Serva  Padrona." 

Niccolo   Logroscino    (1700-1763).      Inventor   of  "Concerted 

Finale." 

Niccolo  Jomelli   (1714-1774). 

Baldassare  Galuppi  (1706-1785).     Called  "Father  of  Opera 

Buffa." 


The     Opera 


Niccolo  Piecini  (1728-1800).  The  rival  of  Gluck  for  Pari- 
sian favor. 

Giovanni  Paisiello  (1741-1816). 
Domenico  Cimarosa  (1748-1801). 
The  Gluck  traditions  required  that  all  Grand  Operas  should  be 
written  in  five  acts,  with  ballets  in  the  second  and  fourth,  and  con- 
certed numbers  at  certain  definite  places.     Only  a  great  genius  could 
show  his  own  individuality  and  employ* such  an  arbitrary  form. 

There  are  but  two  worthy  of  mention  as  followers  of  Gluck,  in 
France : 

Antonio  Salieri  (1750-1825).  Lived  in  Vienna  during 
French  Revolution  and  was  the  teacher  of  both  Beethoven  and 
Schubert. 

Etienne  Henri  Mehul  (1763-1817).  His  greatest  works  were 
Biblical  operas,  which  were  original  and  effective. 
The  greatest  genius  of  this  period  was  Luigi  Cherubini  (1760- 
1842),  who,  although  a  Florentine,  was  identified  with  the  French 
School.  He  was  the  first  Director  of  the  Paris  Conservatoire;  during 
his  long  life  there,  he  saw  not  only  the  close  of  the  Classic  School,  the 
rise  and  development  of  the  Romantic  School,  but  also  the  dawn  of  a 

Modern  Era.  In  all  his  works  the 
extreme  formality  of  Cherubini 's 
style  overbalances  the  beauty  of 
melody. 

Also  closely  identified  with  the 
Paris  School  was  another  Italian, 
Gasparo  Spontini  (1774-1851) 
whose  "La  Vestale"  (1807)  and 
"Ferdinand  Cortez"  (1809)  ex- 
erted a  great  influence  on  both 
Meyerbeer  and  the  early  Wagner. 
The  most  popular  opera  com- 
poser of  the  day  was  Gioachino  Ros- 
sini (1792-1868),  who  established 
his  reputation  as  a  composer  of 
Opera  Seria  when  he  wrote  "Tan- 
credi"  in  1813.  (This  was  the  year 
Wagner  and  Verdi  were  born.)  Two  years  later,  he  became  known 
as  the  composer  of  the  most  popular  Opera  Buffa  of  the  day,  "The 


GIOACHINO      ROSSINI 


199 


The     Opera 

Barber  of  Seville.''  This  work  is  still  regarded  as  Rossini's  greatest 
musical  gift  to  the  world,  although  "William  Tell"  should  be  ranked 
as  Rossini's  best  effort  in  the  style  of  the  Grand  Opera.  This  work  is 
the  most  serious  of  any  of  Rossini's  operas,  and  is  a  very  remarkable 
musical  setting  of  Schiller's  historic  tragedy.  "William  Tell"  was 
written  for  the  Paris  Grand  Opera,  and  one  might  say  was  the  first 
work  of  that  school,  which  exerted  such  a  great  influence  up  to  the 
time  of  Wagner.  Rossini's  particular  characteristic  was  his  love  of 
vocal  display,  in  the  old  coloratura  singing,  and  we  find  him  openly 
practising  all  the  abuses  against  which  Gluck  had  rebelled.  Even  his 
recitatives  were  full  of  trills,  roulades  and  vocal  embellishments,  and 
although  he  withdrew  from  the  singers  their  absurd  right  to  improvise 
a  cadence  during  the  singing  of  an  aria,  he  amply  compensated  them 
by  the  florid  cadenzas  he  himself  provided. 

ILLUSTRATIONS  . 

88097     Una  voce  poco  fa     ("Barber  of  Seville  ")  Mme.  Tetrazzini 

88391     Largo  al  factotum     ("  Barber  of  Seville  ")  Titta  Ruffo 

92051     Trio— Troncar  suoi  dl     ("William  Tell  ")      Paoli,  Cigada  and  Sillich 

HINTS  FOR  TEACHERS 

Review  the  development  of  opera  and  make  a  strong  point  of  the 
influence  of  the  Italian  School  on  that  of  France.  Remind  the  class 
of  the  Romantic  Period  as  studied  in  Course  II,  and  the  political  and 
artistic  reasons  for  the  importance  of  Paris  at  this  time. 

QUESTIONS 

Which  of  these  selections  is  the  most  dramatic?  Does  any  one 
of  them  reflect  humor"  Which  are  from  Opera  Buffa?  Which  from 
Opera  Seria?  Which  voice  sings  the  first  selection?  The  second? 
What  quality  is  used?  What  voices  do  you  hear  in  the  third?  Which 
is  an  example  of  "concerted"  writing?    Which  selection  is  imitative? 

CHORUSES 

Inflammatus,  ' '  Stabat  Mater ' '   ( Rossini ) . 

Hark,  Hear  the  Drums  Beat,  "The  Barber  of  Seville"  (Rossini). 

Swiss  Battle  Song,  "William  Tell"  (Rossini). 

200 


The     Opera 


Lesson  XI 

The  French  Grand  Opera — Donizetti  and  'Bellini 

We  have  found  that  with  the  rise  of  Romanticism  in  France, 
there  appeared  but  one  great  genius,  who  was  a  native  Frenchman, 
Hector  Berlioz  (1803-1869).  Berlioz  exerted  his  greatest  influence, 
however,  over  the  instrumental  school,  and, 
although  he  wrote  several  operas,  they  were 
entirely  overshadowed  by  the  popularity  of 
his  Italian  rivals. 

The  early  days  of  the  Empire,  under 
Louis  Philippe  and  the  establishment  of  the 
French  Grand  Opera,  attracted  to  the  French 
Court,  once  more,  all  the  greatest  opera  com- 
posers of  the  world.  The  influence  of  the 
Revolution  had  left  a  marked  impression  on 
the  public  taste  of  the  Parisians  of  this 
period.  The  writings  of  the  great  Balzac, 
Dumas  and  Hugo  had  taught  the  French 
people  to  look  for  realism  and  horror  in  all 
phases  of  art;  no  dramatic  work  which  was  not  spectacular  in  char- 
acter could  hope  for  a  success  in  Paris  at  this  time. 

The  French  Grand  Opera  as  the  French  form  of  Opera  Seria  of 
this  period  was  called,  is  frequently  designated  as  "Historical  Opera," 
because  the  subject  matter  chosen  was  almost  always  based  on  an 
actual  historical  incident.  In  this  form,  two  followers  of  the  Italian 
Rossini,  excelled,  during  this  period;  and  they  soon  became  the  most 
popular  leaders  of  the  French  Grand  Opera  School.  These  men  were : 
Gaetano  Donizetti  (1797-1848)  and  Vincenzo  Bellini   (1801- 

1835). 

Although  neither  of  these  composers  possessed  the  vigor  and 
strength  of  Rossini,  they  were  more  refined  and  cultured  in  their 
style. 

Donizetti  possessed  a  real  gift  for  dramatic  intensity  and  was  a 
man  of  broad  culture,  whose  powerful  works  in  both  the  Opera  Seria 
and  Opera  Buffa  manner,  still  retain  a  popular  place  in  operatic 
repertoire.  "Lucrezia  Borgia"  (1834),  based  on  Victor  Hugo's  his- 
torical novel;  and  "Lucia  di  Lammermoor'  (1835),  based  on  Sir 
Walter   Scott's  novel,  "The  Bride   of  Lammermoor,"  are  the  best 


VINCENZO    BELLINI 


The     Opera 


examples    of    the    former    type;    while    "Don    Pasquale,"    "Elisir 

d'Amore"  and  "La  Fille  du  Regiment"  are  types  of  Opera  Buffa 

well  worthy  to  rank  with  the  "Barber  of  Seville." 

Bellini  possessed  a  more  delicate 
poetic  gift  of  melody,  than  did  Donizetti. 
He  wrote  only  in  the  style  of  Opera  Seria ; 
his  best  works  being,  "Norma,"  "Puri- 
tani"  and  "La  Sonnambula. "  These 
works  still  hold  the  stage;  however,  it  is 
principally  because  they  give  to  the  col- 
oratura singer  such  wronderful  opportuni- 
ties for  vocal  display. 

The  Romantic  movement  as  exempli- 
fied by  von  Weber,  was  carried  into  the 
French  School  by  Louis  Joseph  Herold 
(1791-1843).  In  his  early  life  a  follower 
of  Adam  and  Mehul,  Herold  acknowledges 

his  allegiance  to  von  Weber  in  his  greatest  work,  "Zampa." 

Another  great  name  to  be  remembered  in  this  period  is  that  of 

Jacques  Halevy   (1799-1862),  whose  greatest  work  was  "La  Juive. " 


GAETANO     DONIZETTI 


ILLUSTRATIONS 

62101     Mira  o  Norma    ("Norma")      (Bellini)  Giacomelli  and  Mileri 

62642  Ah!  fosco  ciel  (" La  Sonnambula")  (Bellini)  La  Scala  Chorus 
88188  Brindisi  ("Lucrezia  Borgia")  (Donizetti)  Mme.  Schumann-Heink 
88299     Mad  Scene     ("Lucia  di  Lammermoor  ")     (Donizetti) 

Mme.  Tetrazzini 
96200     Sextette     ("Lucia  di  Lammermoor ")     (Donizetti) 

Sembrich,  Severina,  Caruso,  Scotti,  Journet  and  Daddi 


HINTS  FOR  TEACHERS 

Be  sure  that  pupils  are  familiar  with  the  stories  of  these  operas 
in  a  general  way,  and  know  where  these  selections  occur.  Consult  the 
Victor  Book  of  the  Opera. 

QUESTIONS 

What  voice  sang  the  third  selection?  The  fourth?  What  voices 
sang  the  first  ?  The  fifth  ?  Which  selections  are  examples  of  concerted 
writing?    Which  is  descriptive?    Which  depicts  fear? 


202 


The     Opera 

CHORUSES 
Soprano  solo,  Act  I — Tyrolese,  Act  II,  "Daughter  of  the  Regi- 
ment'' (Donizetti). 

0,  Italia,  Italia  Beloved,  "Lucrezia  Borgia"  (Donizetti). 
Chorus  from  Finale,  "Lucia  di  Lammermoor"  (Donizetti). 
"When  Daylight's  Going,  "La  Sonnambula"  (Bellini). 
Hear  Me,  Norma!  "Norma"  (Bellini). 


Lesson  XII 

The  French  Grand  Opera — Meyerbeer 

We  have  found  in  our  study  of  the  opera  that  the  principal 
names  connected  with  the  French  School  have  been  men  from  either 
Italy  or  Germany.  The  dominating  personality  of  the  French  Grand 
Opera  of  the  nineteenth  century  was 
Giacomo  Meyerbeer  (1791-1864).  The 
son  of  a  Jewish  banker  in  Ber- 
lin, Jacob  Liebmann  Beer,  he  began 
his  musical  studies  as  pianist  and 
achieved  some  small  success  on  the 
concert  stage.  His  aspirations  lay, 
however,  toward  the  broader  field  of 
opera,  and  failing  to  meet  success  by 
his  efforts  in  Germany,  he  went  to 
Italy,  where,  through  the  influence  of 
Rossini  several  of  his  smaller  works 
were  produced.  Changing  his  name 
to  an  Italian  version  he  became  Gia- 
como Meyerbeer,  and  entered  the 
operatic  arena  of  Paris  in  1826. 

Meyerbeer's  chief  talent  lay  in  his  wonderful  ability  to  adapt 
himself  to  all  styles,  and  realizing  that  the  French  public  of  the  day 
desired  to  be  startled  and  amazed  by  spectacular  opera,  he  set  him- 
self to  work  to  provide  for  them  exactly  what  they  desired.  Riemann 
says,  "In  his  combination  of  German  Harmony.  Italian  Melody  and 
French  Rhythm,  Meyerbeer  stands  alone."  To  these  attributes  the 
composer  added  a  dramatic  power,  a  spectacular  display,  either  in  the 


GIACOMO    MEYERBEER 


203 


The     Opera 

use  of  solo  voices,  chorus  or  orchestra ;  the  result  was  a  dazzling,  spec- 
tacular melodrama,  which  has  influenced  many  composers  of  the 
modern  school. 

Meyerbeer 's  first  work  to  attract  universal  attention  was  "Robert 
Le  Diable"  (1831),  which  was  an  immense  success,  and  which  paved 
the  way  for  other  triumphs.  "Les  Huguenots"  (1836)  is  considered 
Meyerbeer's  masterpiece.  This  setting  of  the  war  between  the  Cath- 
olics and  Huguenots,  ending  in  the  great  Massacre  of  St.  Bartholomew, 
is  absurd  from  a  dramatic  point  of  view,  but  it  gives  a  great  oppor- 
tunity for  vocal  display  and  shows  the  superficial  splendor  of  Meyer- 
beer at  his  best. 

In  "Le  Prophete"  (1849)  Meyerbeer  carries  his  spectacular 
form  to  a  still  greater  extreme.  His  last  work,  "L'Africaine,"  occu- 
pied him  during  the  last  years  of  his  life,  although  not  produced 
until  a  year  after  his  death.  This  work  is  considered  by  musicians 
to  be  Meyerbeer's  most  serious  composition,  but  it  has  never  achieved 
the  popularity  of  "Les  Huguenots."  Meyerbeer  also  wrote  in  the 
style  of  the  Opera  Comique,  his  best  work  in  this  form  being 
"L'Etoile  du  Nord." 

ILLUSTRATIONS 

45007     Romanza— Fairer  than  the  Lily     ("Les  Huguenots") 

(Meyerbeer)  Gautier 

85107     Nobil  signori  salute     ("Les  Huguenots")     (Meyerbeer) 

Mme.  Homer 

74275     Benediction  of  the  Swords     ("Les  Huguenots" )      (Meyerbeer) 

Marcel  Journet  and  Metropolitan  Opera  Chorus 

88187     Ah,  mon  fils     ("Le  Prophete")       (Meyerbeer) 

Mme.  Schumann-Heink 

70068     Marche  Indienne      ("L'Africaine")     (Meyerbeer) 

Victor  Herbert's  Orchestra 

HINTS  FOR  TEACHERS 

Review  with  your  class  the  period  of  the  Huguenots.  Claude 
Goudimel,  the  Netherland  master,  who  founded  the  great  choral 
school  of  Rome  (see  Lesson  VI,  Course  II),  was  killed  in  this  massacre. 

Recall  to  class  the  influence  of  the  Italian  Medici  family  in  France. 
Catherine  de  Medici  was  Queen  of  France  at  this  time.  Maria  de 
Medici  in  1600  married  the  French  King,  Henry  IV,  and  it  was  for 
their  nuptial  festivities  that  the  first  music  drama,  "Eurydice,"  was 
produced. 

204 


The     Opera 

QUESTIONS 

What  voice  sang  the  first  selection?  The  second?  The  third? 
The  fourth?  Where  have  we  heard  the  first  before?  What  instru- 
ment plays  the  obbligato  ?  Where  have  we  before  heard  the  third  ?  Of 
what  is  it  an  example?  What  instrumental  effects  do  you  note  in 
the  last  ? 

CHORUSES 

List  the  Trumpets'  Thrilling  Sound,  "Huguenots"  (Meyerbeer). 
Thy  Flow'ry  Banks  (0,  Maiden  Fair,  "Huguenots").     (Meyer- 
beer.) 


L 


esson 


XIII 


The  Early  Hagner 

In  the  3rear  1813,  Jean  Paul  Richter,  the  great  poet  of  the  Roman- 
ticists, wrote,  "Hitherto  Apollo  has  distributed  his  poetic  gifts,  with 
his  right  hand,  his  musical  gifts,  with  his  left  hand,  to  two  men  so 
remotely  apart,  that  the 
world  is  still  waiting  the 
advent  of  a  genius,  who 
shall  create  a  genuine  mu- 
sic drama,  by  writing  both 
the  words  and  the  music." 
That  very  year  there  was 
born  in  Leipsic  the  man 
whose  life  and  works  were 
to  be  the  fulfillment  of  that 
prophecy  —  Wilhelm  Rich- 
ard Wagner  (1813-1883).  Wagner's  youth  was  spent  in  Leipsic  and 
Dresden,  where  he  was  strongly  influenced  by  the  operas  of  Carl  Maria 
von  Weber,  the  symphonies  of  Beethoven,  and  the  dramas  of  Shake- 
speare.   Wagner's  works  must  be  divided  into  three  periods: 

OPERAS. 

"Da's  Liebesverb3o3t,''  1834.  j  Influence  of  Weber  and  Marschner. 
"Rienzi,"  1842.— Influence  of  French  Grand  Opera. 


'WAHNFRIED,"     WAGNER'S     HOME      IN     BAYREUTH 


205 


The     Opera 


TRANSITIONAL. 
"  Der  Fliegende  Hollander,"  1844. 
"Tannhauser,"  1845. 
"Lohengrin/'  1850. 

MUSIC   DRAMA. 
"  Der  Ring  der  Nibelungen,"  1876. 
"Tristan  and  Isolde/'  1865. 
"Die  Meistersinger  von  Niirnberg,"  1868. 
"Parsifal,"  1882. 

Like  Bach  and  Beethoven,  Wagner  is  an  epoch-maker,  for  not 
only  did  he  bring  the  forms  known  at  his  time  to  their  culmination, 
but  he  pointed  the  way  toward  the  future  of  the  music  drama.     We 

must  first  clearly  under- 
stand what  are  the  strik- 
ing features  of  Wagner's 
"Music  of  the  Future." 
1.  The  return  to  the 
first  principle  of  the 
Camerata,  that  music, 
drama  (or  story)  and  in- 
terpretation should  be 
equally  important.  To  do 
this  Wagner  found  it  was 
necessary  to  abolish  old 
forms,  and  also  to  seek  new  inspiration  from  legendary  sources,  for 
dramatic  material.    Wagner  wrote  all  his  own  librettos. 

2.  Leit  motif- — or  use  of  guiding  theme.  Not  original  with  Wag- 
ner, although  he  was  the  first  to  use  it  consistently,  to  depict  not 
only  his  characters,  but  inanimate  objects,  thoughts  and  ideas,  as 
well  as  personalities.  To  employ  correctly  the  "leit  motif,"  Wagner 
disregarded  all  the  old  forms  of  recitatives  and  arias,  the  regulation 
duet  and  concerted  finale,  but  by  blending  his  motifs  into  a  poly- 
phonic whole  he  produced  a  continuous  web  of  melody. 

3.  Characteristic  instrumentation ;  the  use  of  certain  instruments, 
to  designate  character  drawing.  The  orchestra  is  no  longer  merely 
an  accompaniment,  but  a  vital  force  in  portraying  the  persons  in  the 
drama. 

4.  Making  the  audience  a  part  of  the  being.  Wagner  felt  that 
the  audience  should  share  in  the  unfolding  of  the  dramatic  plot,  and 
he  therefore  employed  a  means,  which,  although  not  new.  was  carried 


WAGNER S    GRAVE     IN     BAYREUTH 


206 


The     Opera 


to  its  perfection  by  his  great  genius.  This  was  to  employ  the  charac- 
teristic instrumentation  and  motives,  to  aid  the  listener  in  compre- 
hending the  situation  even  before  the  actors  on  the  stage  realized  it 
themselves.  For  example,  in  Loh- 
engrin's "Narrative,"  by  the 
constant  use  of  the  "Grail"  mo- 
tive and  the  characteristic  use  of 
the  "strings,"  Wagner  tells  his 
audience  that  Lohengrin  is  a 
knight  of  the  Holy  Grail,  long 
before  the  hero  so  announces  him- 
self by  words. 

5.  The  use  of  preludes  in 
place  of  overtures.  Wagner  de- 
parted from  the  old  form  of  over- 
ture and  gave  to  his  introduc- 
tions the  title  of  ' '  Prelude. ' '  This 
symphonic  orchestral  composition 
served  as  a  preparation  for  the 
dramatic  action  which  was  to  fol- 
low. Each  act  had  its  own  prelude. 

Wagner's  earliest  ambition  in 
the  writing  of  "Rienzi"  had  been 
to  outdo  in  splendor,  the  magnificence  of  the  French  Grand  Opera 
School.  When  this  work  was  produced  in  1841  in  Dresden,  Wagner 
was  declared  to  be  the  equal,  if  not  the  superior  of  Bellini,  Donizetti 
and  Meyerbeer.  But  he  had  realized  the  dramatic  absurdities  of  this 
style  while  writing  "Rienzi,"  and  in  "The  Flying  Dutchman"  he 
began  the  development  of  his  theories,  as  to  the  possibilities  of  the 
future  music  drama.  Many  of  his  ideas  were  looked  upon  askance, 
by  the  greatest  musicians  of  the  time,  but  there  was  still  much  in  "The 
Flying  Dutchman"  which  they  could  commend.  With  the  appear- 
ance of  "  Tannhauser, "  however,  Wagner  was  openly  declared  a  mad- 
man. Even  Robert  Schumann  wrote  that  there  was  not  a  moment  of 
melody  in  the  entire  work :  it  is  a  pleasure  to  record  that  Schumann 
later  proclaimed  "Tannhauser"  to  be  the  greatest  work  of  the  modern 
epoch. 

ILLUSTRATIONS 


ELIZABETH    AT    THE    SHRINE 


31787     Overture     ( "The  Flying  Dutchman") 
88116     Senta's  Ballad     ("The  Flying  Dutchman") 


Pryor's  Band 
Mme.  Gadski 


The     Opera 

74230     In  Ocean's  Deepest  Wave     ("The  Flying  Dutchman")     Otto  Goritz 
88057     Oh !  Hall  of  Song     ("Tannhauser")  Mme.  Gadski 

88154     The  Evening  Star     ("Tannhauser")  Emilio  de  Gogorza 

HINTS  FOR  TEACHERS 

Be  sure  the  class  know  the  legends  of  "The  Flying  Dutchman" 
and  "Tannhauser."  Review  lesson  (Course  II)  on  the  Minnesingers 
and  point  out  how  they  influenced  Wagner,  and  how  he  immortalized 
their  works. 

QUESTIONS 

Where  did  Wagner  obtain  the  dramatic  material  for  these  operas? 
Where  did  the  Minnesingers  live,  and  when?  Who  was  Wolfram  von 
Eschenbach?  What  did  he  write?  What  voice  sings  Senta?  The 
Dutchman?  Elizabeth?  Wolfram?  What  instrumental  effects  do 
you  notice  in  the  overture  ? 

CHORUSES 

Spinning  Chorus,  "The  Flying  Dutchman"  (Wagner). 

Hail,  Bright  Abode,  "Tannhauser"  (Wagner). 

Pilgrims'  Chorus,  "Tannhauser"  (Wagner). 

Evening  Star,  "Tannhauser"  (Wagner). 


L 


esson 


XIV 


Lohengrin 

The  production  of  "Lohengrin"  in  1850  is,  in  reality,  the  turn- 
ing point  of  Wagner's  life.  When  he  left  Germany  in  1849  a  political 
exile,  Wagner  stopped  in  Weimar,  to  visit  his  friend  Franz  Liszt ; 

there  he  heard  Liszt 
conducting  a  perform- 
ance of  "Tannhau- 
ser. ' '  When  he  reached 
Switzerland,  Wagner 
wrote  a  letter  to  his 
friend,  in  which  he 
said:  "What  I  felt  in 
writing  my  'Tannhau- 
ser,' you  seem  to  feel 


WEIMAR,      WHERE 
WAS    PRODUCED 


LOHENGRIN 


208 


The     Opera 

in  making  it  sound.  I  am  sending  you  the  score  of  my  'Lohen- 
grin'; write  me  exactly  what  you  think  of  it."  To  this,  Liszt 
replied:  "Like  the  pious  priest,  who  underlined  every  word  of  'The 
Imitation  of  Christ,'  I 
should  like  to  underline 
your  'Lohengrin,'  note  by 
note.  It  shall  be  given  the 
greatest  performance, 
which  has  ever  been  heard 
in  Germany,  for  I  shall 
produce  it  for  the  Goethe 
Centennial."  And  so  it 
happened,  that  the  first 
great  German  Music 
Drama  was  presented  at 
Weimar,  August  28,  1850, 
to  an  audience  of  the  great- 
est men  of  Europe,  who 
had  gathered  to  do  hom- 
age to  Germany's  great 
poet-dramatist.  From  that 
day,  Wagner's  genius  was 
recognized,  and  the  new 
form  was  acknowledged  to 
be,  "The  Music  of  the 
Future."  In  "Lohen- 
grin ' '  Wagner,  for  the  first 
time,  uses  his  theory  of  characteristic  instrumentation  ;  he  here  changes 
the  overture  to  a  prelude,  or  Vorspiel,  giving  each  act  its  own  intro- 
duction; he  elaborates  the  use  of  the  leit  motif;  and  also  his  theory 
of  making  "the  audience  a  part  of  the  being," 

ILLUSTRATIONS 


THE    VORSPIEL    TO        LOHENGRIN 


31779  Prelude     ("Lohengrin") 

88038  Elsa's  Dream     ("Lohengrin") 

61203  Swan  Song     ("Lohengrin") 

31846  Bridal  Chorus     ("  Lohengrin  ") 

76026  Lohengrin's  Narrative     ("Lohengrin") 


La  Scala  Orchestra 

Mme.  Gadski 

Leo  Slezak 

Victor  Opera  Chorus 

Herman  Jadlowker 


HINTS  FOR  TEACHERS 
Give  class  a  complete  idea  of  the  story  of  "Lohengrin"  and  remind 
them  that  here  Wagner  uses  a  historical  episode  taken  from  the  life 


209 


The      Opera 


LOHENGRIN  S    DEPARTURE 


of  King  Henry  the  Fowler.  The 
scene  is  laid  in  the  old  part  of  Ant- 
werp, on  the  shores  of  the  river 
Scheldt.  Wagner's  story  follows 
the  legend  of  Wolfram  von  Eschen- 
bach,  the  Minnesinger.  It  is  the 
same  story  Wagner  later  employed 
in  "Parsifal." 

QUESTIONS 
What  voice  sings  Elsa?  Loh- 
engrin ?  What  does  the  Vorspiel. 
or  prelude,  to  Lohengrin  describe? 
What  instrumental  effects  does 
Wagner  employ  here?  Does  the 
Vorspiel  help  prepare  the  audience 
to  be  a  part  of  the  being?  How? 
Where  do  we  hear  the  Grail 
motive  again  ? 


Bridal  Chorus. 


CHORUS 

Lohengrin"  (Wagner). 


Lesson  XV 

The  Ring  of  the  Ntbelungen 

The  greatest  work  of  Richard  Wagner  was  the  famous  Tetralogy, 
"Der  Ring  der  Nibelungen,"  which  consists  of  four  music  dramas: 

The  Rhinegold — Prelude  of  Trilogy. 

The  Valkyrie. 

Siegfried. 

The  Twilight  of  the  Gods. 
It  was  Wagner's  original  idea  to  use  the  legends  of  the  Norse, 
known  as  the  Volsung  Sagas,  in  one  great  music  drama  to  be  called 
"Siegfried,  the  Hero."  Finding  it  necessary  to  tell  of  Siegfried's 
youth,  he  prefixed  this,  with  a  work  entitled  "Siegfried,"  then  told 
of  Siegfried's  parentage  in  "The  Valkyrie,"  and  prefaced  the  whole. 


210 


The     Opera 

by  the  story  of  the  stealth  of  the  gold,  and  the  curse  which  rested 
upon  it,  with  the  preliminary  drama  of  "Rhinegold."  He  then 
began  to  work  out  his  gigantic  musical  plan,  and  after  many  years  the 
greatest  operatic  work  ever  written,  was  finally  presented  to  the 
world.  All  the  legendary  stories  to  be  found  in  the  Norse  Sagas  and 
Eddas,  Wagner  has  used,  as  well  as  the  Teutonic  versions  of  the  story 
with  which  he  became  acquainted  through  his  study  of  the  Minne- 
singer Knights.  These  stories  he  has  changed  and  blended  together 
into  a  perfectly  coherent  development,  which  makes  the  poem  of  ' '  The 
Ring  of  the  Nibelungen"  a  work  which  would  merit  the  attention  of 
the  world  if  it  was  without  a  musical  setting.  In  his  music,  Wagner 
has  developed  the  idea  of  the  "leit  motif"  to  its  fullest  extent.  Not 
alone  content  to  have  character  motives,  we  find  each  inanimate  object 
becomes  a  vital  living  force  in  the  music,  while  thoughts  and  ideas, 
as  they  develop  in  the  hearts  and  minds  of  the  characters,  assume 
great  significance.  For  example,  the  crafty  Alberich,  whose  lust  for 
gold,  causes  him  to  steal  the  treasure  from  the  Rhine  maidens,  curses 
the  gold,  when  it  is  taken  from  him  by  Wotan.  Henceforth  that  curse 
rests  upon  the  gold  and  pursues  us  in  the  music  until  it  causes  the 
downfall  of  the  Gods  in  the  Finale  of  the  tragedy. 

Take  again  the  theme  of  the  Rhine  as  we  hear  it  in  the  prelude 
to  "Rhinegold";  it  depicts  the  mystery  of  wisdom  when  it  appears 
again  in  "Rhinegold"  to  accompany  Erda,  as  she  warns  Wotan  to 
give  up  the  gold ;  then  changed  it  appears  again  in  Erda 's  theme  when 
she  gives  her  final  warning  to  Wotan  in  "Siegfried";  it  returns  in 
"Die  Gotterdammerung,"  first  in  the  scene  between  Siegfried  and 
the  Rhine  daughters,  then  in  the  Death  March,  and  last  in  the  Finale. 
Note  the  development  of  the  characters  themselves;  the  change  in 
the  Brunnhilde  from  the  warlike  maiden  to  the  supplicant  daughter 
in  "Valkyrie";  the  awakening  of  her  love  for  Siegfried  in  "Sieg- 
fried." In  "Die  Gotterdammerung,"  we  see  her  first  as  Siegfried's 
loving  wife ;  then  as  the  outcast  from  Walhalla ;  next  the  outraged  wife 
of  Gunther ;  then  as  the  avenger  of  her  disgrace,  in  the  plotting  against 
Siegfried ;  and  finally  as  the  self-sacrificing  redeemer  of  the  world 
from  the  curse  on  the  gold  in  the  Immolation  Scene. 

ILLUSTRATIONS 

88092     Erda's  Warning    ("The  Rhinegold")  Mme.  Schumann-Heink 

88276     Siegmund's  Love  Song     ("Valkyrie")  Riccardo  Martin 

62693     Ride  of  Valkyries     ("Valkyrie")  La  Scala  Orchestra 

211 


The     Opera 

87002     Ho-yo-to-ho— Brunnhilde's  War  Cry     ("Valkyrie")      Mme.  Gadski 
74305     Wotan's  Farewell     ("Valkyrie")  Clarence  Whitehill 

35246     Siegfried's   Death    March       ("Die    Gotterdammerung") 

Pryor's  Band 
88185     Immolation  Scene     ("  Die  Gotterdammerung  ")  Mme.  Gadski 

HINTS  FOR  TEACHERS 
There  are  many  records  from  ' '  The  Ring' '  to  be  found  in  the 
Victor  Catalogue.  "The  Victor  Book  of  the  Opera"  will  be  of  great 
help  to  you  in  your  preparation  for  this  program,  as  your  class  must 
be  familiar  with  the  legendary  stories  of  "The  Ring,"  and  the  man- 
ner in  which  they  have  been  used  by  Wagner.  If  possible,  the  princi- 
pal motives  should  be  played  on  the  piano,  and  their  use,  as  heard 
in  these  selections,  should  be  observed. 

CHORUSES 
Choruses  in  Lesson  XIII  suggested. 


Lesson  XVI 

The  Late  Wagner 
Wagner's  three  greatest  individual  music  dramas  are  "Tristan 
and  Isolde,"  "Die  Meistersinger,"  and  "Parsifal,"  and  with  these 
works,  which  were  all  written  or  sketched,  while  he  was  in  exile,  the 
most  remarkable  point  to  notice  is  that  each  work  has  its  own  charac- 
teristic atmosphere.  The  tragic  passion  of  "Tristan  and  Isolde" 
creates  a  very  different  atmosphere  from  the  jovial  gaiety  of  the  folk 
life  as  reflected  in  "Die  Meistersinger,"  while  the  spirit  of  religious 
mysticism  of  "Parsifal"  is  again  distinct.  The  characters  are  drawn 
with  marvelous  skill,  while  the  use  of  the  orchestra  is  still  more 
remarkable. 

TRANSITIONAL 
"  Der  Fliegende  Hollander/'  1S44. 
"  Tannhauser,"  18  15. 
"  Lohengrin,"  1850. 

MUSIC  DRAMA 
"  Der  Ring  der  Nibelungen,"  1S76. 

"  Das  Rheingold."  "  The  Rhinegold." 

"  Die  Walkiire."  "  The  Valkyrie." 

"  Siegfried."  "  Siegfried." 

"  Die  Gotterdammerung."  "  The  Twilight  of  the  Gods." 

212 


The     Opera 

"  Tristan  und  Isolde,"  1865. 

"  Die  Meistersinger  von  Niimberg,"  1868. 
"  Parsifal,"  1882. 

' '  Tristan  and  Isolde ' '  is  one  of  the  greatest  musical  love  tragedies 
of  the  world.  Wagner  used  the  Teutonic  version  of  this  old  Celtic 
legend,  as  it  was  given  to  Germany  by  Gottfried  von  Strassburg.  We 
find  the  same  legend  in  France, 
Ireland  and  England,  but  Wag- 
ner has  given  us  in  his  music 
drama  all  the  legends  woven  into 
a  most  beautiful  and  complete 
whole.  By  many  authorities 
"Tristan  and  Isolde"  is  consid- 
ered the  most  perfect  example  of 
the  Wagner  music  drama. 

In  "Die  Meistersinger, ' ' 
which  is  Wagner 's  one  music  com- 
edy, we  find  an  entirely  new 
phase  of  Wagnerism.  This  work, 
which  was  written  as  a  satire  on 
Wagner's  critics,  returns  to  the 
old  form  of  opera,  with  concerted 
numbers,  etc.,  but  all  are  made  to 
combine  with  the  dramatic  action, 
so  that  the  work  is  not  only  a  per- 
fect opera,  but  a  complete  music 

drama  as  well.  Wagner's  marvelous  science  of  blending  his  orchestra 
and  voices  into  a  contrapuntal  polyphony  is  here  carried  to  its  greatest 
extreme. 

It  was  Wagner's  original  idea  in  writing  his  drama  of  "Parsi- 
fal" that  it  should  never  be  given  outside  of  the  ideal  Festival  play- 
house of  Bayreuth,  for  the  composer  rightly  felt  that  the  proper  reli- 
gious atmosphere  necessary  to  make  his  audience  "a  part  of  the 
being"  of  this  work  could  only  be  found  among  ideal  surroundings 
far  apart  from  every-day  reality.*  In  1903  the  work  was  produced  in 
New  York.  As  the  European  copyright  on  the  work  expires  in  1913, 
many  other  countries  will  shortly  have  the  opportunity  of  hearing 
the  opera. 

*  It  is  the  atmosphere  of  the  little  town  of  Bayreuth  which  makes  the  performances  there  so 
ideal,  just  as  the  Passion  Play  of  Oberammergau  would  be  impossible  in  a  large  city. 


EVA    BESTOWS    THE    LAUREL    WREATH 


213 


The     Opera 

ILLUSTRATIONS 

88058     Isolde's  Liebestod  Johanna  Gadski 

68210     Prelude  La  Scala  Orchestra 

70080     Prize  Song     ("Die  Meistersinger")  Lambert  Murphy 

74144     Good  Friday  Spell      ("  Parsifal  ")  Herbert  Witherspoon 

31735     Procession  of  the  Knights     ("  Parsifal  ")  Pryor's  Band 

HINTS  FOR  TEACHERS 

The  stories  of  these  works  must  be  clearly  understood  by  the  class, 
so  that  they  may  feel  the  difference  in  the  musical  atmosphere,  with 
which  Wagner  has  surrounded  each  of  these  dramas. 

CHORUSES 
Choruses  in  Lesson  XIII  suggested. 


Lesson  XVII 

The  Rise  of  National  Opera 

The  rise  of  National  Opera  is  contemporaneous  with  the  founding 
of  the  National  Schools  of  Music  in  Russia,  Scandinavia,  Bohemia, 
etc.,  in  the  middle  of  the  nineteenth  century.  The  Slavic  nations  have 
been  those  most  interested  in  the  development  of  opera.  We  find 
practically  no  operatic  school  in  Scandinavia.  In  Russia  a  love  for 
the  opera  has  always  been  very  strong,  and  Italian  and  French  opera 
companies  were  ever  popular.  The  first  distinctly  Russian  opera 
was  by  Michael  Glinka  (1803-1857),  who,  by  his  great  work,  "A  Life 
for  the  Czar,"  laid  the  foundation  of  Russian  national  music.  In 
this  work  we  find  a  splendid  portrayal  of  both  nationality  and  patriot- 
ism, although  it  follows  the  general  plan  of  Italian  Opera.  His  sec- 
ond opera,  "Russian  and  Ludmilla, "  although  lacking  in  the  strong 
national  feeling  of  his  first  work,  is,  nevertheless,  a  much  stronger 
dramatic  work,  but  neither  of  Glinka's  operas  has  ever  won  success 
outside  of  his  native  land.  The  same  might  be  said  of  all  the  operatic 
works  wmich  have  been  written  by  Russian  composers,  with  the  excep- 
tion of  Tschaikowsky,  whose  universal  popularity  has  led  to  the  pro- 
duction of  several  of  his  operas  in  Europe  and  America.  Of  these 
the  greatest  is  undoubtedly  "Eugene  Onegin"  (1879),  although 
"Pique  Dame"  (1890)  is  also  worthy  of  mention.  Tschaikowsky 
favored  the  Italian  School,  and  his  operas  show  his  love  of  the  lyric 


The     Opera 

stage,  as  portrayed  by  Mozart.  Strangely  enough  the  great  dramatic 
strength  of  Tschaikowsky,  felt  in  his  orchestral  works,  is  utterly  lack- 
ing in  his  work  for  the  stage. 

The  Bohemian  School  has  developed 
a  more  natural  form  of  operatic  expres- 
sion, for  the  masters  of  this  school  have 
been  chiefly  inspired  by  the  old  German 
form  of  "Singspiel."  The  first  Bohe- 
mian opera  was  "The  Bartered  Bride" 
("Prodana  Nevesta"),  with  which  Sme- 
tana  laid  the  foundation  of  Bohemia's 
national  school  of  music.  Smetana  wrote 
in  all,  eight  operas,  but  the  only  one, 
which  has  achieved  popularity,  outside 
of  Bohemia,  is  "The  Bartered  Bride." 
Here  we  have  a  Bohemian  story  with  a 
Bohemian  musical  setting  and  Bohemian  dances,  and  in  a  form  which 
also  reflects  the  national  characteristics  of  the  Bohemian  people. 

Dvorak,  although  possessed,  of  greater  talent  than  his  master, 
seems  to  have  had  no  vocation  for  the  stage.  His  operas  follow  the 
style  of  Smetana  closely,  but  do  not  show  the  great  genius  of  their 
composer,  as  do  his  orchestral  works.  They  are  given  but  rarely  out- 
side of  Bohemia. 

ILLUSTRATIONS 

35148     Overture      ("The  Bartered  Bride")    (Smetana)  Pryor's  Band 

61136     "Pique  Dame"    (Tschaikowsky)   Mmes.  Michailowa  and  Tugarinoff 

HINTS  FOR  TEACHERS 
Review  Lessons  XXII  and  XXIII,  Course  II.     The  story  of  the 
"Bartered  Bride"  may  be  told,  and,  if  possible,  the  following  Bohe- 
mian records  secured  as  illustrations: 


FRIEDRICH     SMETANA 


16205     Air — Jenik     ("  Prodana  Nevesta  ") 
16208     Terzetto     ("  Prodana  Nevesta") 


Smetana 
Smetana 


If,  however,  time  and  circumstances  make  this  impossible,  point 
out  clearly  to  the  class  the  national  feeling  to  be  noted  in  the  over- 
ture to  "The  Bartered  Bride,"  and  the  lyric  Italian  quality  of  bel 
canto,  which  is  reflected  in  the  duet  from  "Pique  Dame." 

CHORUS 
Songs  My  Mother  Taught  Me  (Dvorak). 


215 


The     Opera 


Lesson  XVIII 

Light  Opera  in  Nineteenth  Century 
We  have  found  that  Opera  was  divided  by  Marc  Antonio  Cesti, 
of  the  Venetian  School,  in  the  seventeenth  century,  into  Opera  Seria 
and  Opera  Buft'a ;  the  latter,  being  the  name  given  for  any  opera,  in 

which  there  occurred  spoken  dialogue.  In 
France  the  form  was  known  as  Opera  Com- 
ique;  any  work  in  which  words  were  spoken, 
came  under  this  general  classification, 
whether  the  piece  was  of  a  humorous  or 
tragic  character. 

In  Germany  the  term  Singspiel  was 
given  to  this  form.  These  German  works 
were  almost  always  settings  of  popular  Ger- 
man folk  tales. 

In  all  three  countries  there  were  many 
works   of   a    lighter   calibre    than    those    we 
have  previously  considered,  and  these  operas 
are  generally  termed  "Light  Opera." 
The  greatest  composers  who  wrote  in  this  form  are : 
Germany: 

Gustav    Lortzing     (1801- /  "Czar  and  Carpenter/'  (1839). 

1851) I  "Undine,"  (1845). 

Otto  Nicolai  (1810-1849)  .  .  ."Merry  Wives  of  Windsor"  (1849). 
Friedrich       von       Flotow 

(1812-1883) '  'Martha,"  (1847) . 

Franz  von  Suppe   (1820-/  "Fatinitza,"  (1876). 
1893)..  .  1  "Boccaccio,"  (1879). 

"Die  Fledermaus,"  (1872). 
"The  Merry  War,"  (1887). 
"The  Gypsy  Baron,"  (1883). 


SIR    ARTHUR    SULLIVAN 


(1825- 


Johann      Strauss 
1899) 

France : 

Robert  Planquette  (1850- 

-  ) 

Jacques  Offenbach  (1819- 

1880) 

England. 

Michael  Balfe  (1808-1870) 

Sir  Arthur  Sullivan  (1842- 
1900) 


"Chimes  of  Normandy,"  (1877). 

"Tales  of  Hoffman,"  (1881). 

"The  Bohemian  Girl,"  (1843). 
"Pinafore,"  (1878). 
"Pirates  of  Penzance,"  (1880). 
"Patience,"  (1881). 
"Iolanthe,"  (1882). 


216 


The     Opera 

Of  these  works,  "Merry  Wives  of  Windsor,"  "Martha,"  "Die 
Fledermaus, "  "Tales  of  Hoffman"  and  "The  Bohemian  Girl"  have 
still  retained  their  popularity  with  the  general  public,  and  are  fre- 
quently given  at  the  Grand  Opera  Houses  throughout  the  world. 

ILLUSTRATIONS 

35270     Overture     ("Merry  Wives  of  Windsor")     (Nicolai) 

New  Symphony  Orchestra,  London 

1(a)  I  Dreamt  I  Dwelt  in  Marble  Halls     ("  The  Bohemian 
Girl")     (Balfe)  Elizabeth  Wheeler 

(b)  Then  You'll  Remember  Me     ("  The  Bohemian  Girl ") 
(Balfe)  Harry  Macdonough 

89009     Mesta  Ognor— Ah  !  Those  Tears     ("Martha")     (Flotow) 

Homer  and  Abott 
87502     Barcarolle      ("Tales    of    Hoffman")       (Offenbach) 

Farrar  and  Scotti 

HINTS  FOR  TEACHERS 
Be  sure  that  pupils  correlate  the  dates  of  these  composers  to  the 
course  in  History  of  Music. 

QUESTIONS 
What  voices  sang  the  second  selection  ?    The  third  ?    The  fourth  ? 
Which  selections  have  we  heard  in  the  class  before? 

CHORUSES 
Good-Night,  "Martha"  (Flotow). 
Last  Rose  of  Summer  (Flotow). 

Legend  of  the  Bells,  "Chimes  of  Normandy"  (Planquette). 
Gypsy  Chorus,  "Bohemian  Girl"  (Balfe). 
The  Heart  Bowed  Down,  "Bohemian  Girl"  (Balfe). 
Pirates'  Song,  "Pirates  of  Penzance"  (Sullivan) 


Lesson  XIX 

Opera  in  Germany  Since  IVagner 

We  found  in  our  study  of  the  History  of  Music  (see  Lesson  XIX, 
Course  II)  that  Wagner's  ideas  and  theories  have  influenced  the  music 
which  has  been  written  since  his  time,  in  the  instrumental  schools,  as 
well  as  in  the  purely  operatic  works.  At  the  time  of  Wagner  there 
were  two  excellent  opera  composers  who  were  directly  influenced  by 


217 


The     Opera 

both  Wagner  and  Liszt;  these  men  were  Peter  Cornelius  (1824-1874), 
whose  "Barber  of  Bagdad,"  produced  in  1858,  shows  many  of  Wag- 
ner's ideas;  and  Hermann  Goetz  (1840-1876),  whose  best  opera  is  a 
musical  setting  of  Shakespeare's  "Taming  of  the  Shrew.'' 

Carl  Goldmark  (1830-  )  has  given  us  three  excellent  operas, 
reflective  of  the  Wagnerian  principles.  "The  Queen  of  Sheba" 
(1875)  was  his  first  work  and  was  received  with  tremendous  enthusi- 
asm. "Merlin"  (1888)  has  never  been  as  popular;  but  "The  Cricket 
on  the  Hearth"  (1896),  a  setting  of  Dickens'  story,  is  filled  with  the 
simple  national  charm  of  the  German  Singspiel,  and  is  entitled  to  its 
popular  place  in  the  modern  opera  repertoire. 

Engelbert  Humperdinck  (1854)  sprang  into  immortal  fame  with 
his  first  opera,  "Hansel  and  Gretel. "  This  charming  use  of  the  old 
folk  tale,  set  in  a  modern  version  of  the  Singspiel,  has  been  the  most 
popular  German  opera  since  Wagner.  In  1910,  the  latest  work  by 
Humperdinck,  "Die  Koenigskinder, "  was  produced  in  New  York, 
and  this  bids  fair  to  rival  "Hansel  and  Gretel"  in  the  public's  affec- 
tion. Humperdinck 's  two  operas  are  the  best  use  of  the  folk  spirit 
which  has  come  into  modern  German  music. 

The  greatest  genius  of  modern  German  opera  is  the  remarkable 
Richard  Strauss  (1864-  ),  who  has  carried  the  ideas  of  Wagner 
and  Liszt  to  a  dangerous  extreme.  Strauss  has  written  in  all  forms, 
but  his  remarkable  dramatic  gift  of  musical  characterization,  is  almost 
as  strongly  felt  in  his  instrumental  compositions  as  in  his  operas. 
His  first  opera,  "Guntram"  (1894),  was  not  remarkable,  but  in 
"Feuersnoth"  (1901)  he  showed  his  true  greatness,  by  his  use  of  an 
old  folk  tale,  in  a  modern  version  of  the  Singspiel. 

In  1905,  the  artistic  world  eagerly  welcomed  his  masterpiece,  the 
setting  of  Oscar  Wilde 's  ' '  Salome. ' '  Over  this  remarkable  work  bitter 
war  has  raged ;  but  the  fact  remains,  that  no  such  character  drawing 
in  music,  has  ever  been  conceived,  as  that  which  Strauss  has  employed 
in  this  marvelous  music  drama. 

With  "Electra"  he  carried  his  theories  still  farther,  and  we  find 
that  the  music  of  the  orchestra,  and  that  sung  by  the  singers,  is 
worked  out  in  an  almost  barbarous  cacophony.  In  his  next  work 
Strauss  has  assumed  the  naive  grace  of  Mozart,  and  has  given  us  a 
comic  opera,  entitled  ' '  The  Rose  Cavalier ' ' ;  but  even  here  his  contra- 
puntal strength  and  marvelous  orchestration  places  this  work  in  a 
class  by  itself. 

218 


The     Opera 

Other  composers  of  opera  in  Germany  today  are: 
Eugene  d 'Albert  (1864),  "Tiefland." 
Max  Shillings  (1868),  "Ingewelde." 
Siegfried  Wagner  (1869),  "Die  Barenhauter. " 

ILLUSTRATIONS 
31853     Prelude     ("  Hansel  and  Gretel")     (Humperdinck)  Pryor's  Band 

64115     Magic  Tones     ("  Queen  of  Sheba  ")     (Goldmark)  Leo  Slezak 

64164     The  Old  Witch       ("  Hansel  and  Gretel  ")     (Humperdinck) 

Otto  Goritz 
64184     Thou  Innocent  One     ("  Koenigskinder ")     (Humperdinck) 

Otto  Goritz 

HINTS  FOR  TEACHERS 
Review  with  your  class  Lesson  XXV,  Course  II ;  also  Lesson  XXX, 
Course  III.  Impress  upon  them,  the  great  importance  of  the  orches- 
tra, since  the  time  of  Wagner.  Special  time  should  be  taken  to  accent 
the  greatness  of  Richard  Strauss,  who  is  the  direct  musical  descendant 
of  Wagner  and  Liszt. 

QUESTIONS 
Which  voice  did  you  hear  in  the  second  selection?     The  third? 
The  fourth?     What  quality  of  tenor  in  the  second?     Which  aria  is 
the  greatest  from  a  dramatic   point  of  view?     Which  is  the  most 
dramatic  ?    Which  tells  a  story  ? 

CHORUSES 

As  choruses,  illustrative  of  this  period,  are  difficult  to  obtain,  a 
review  is  suggested. 


Lesson  XX 

The  Early  Verdi 

Giuseppe  Verdi  (1813-1901)  was  born  the  same  year  as  the  great 
Richard  Wagner,  and  he  lived  to  see  the  rise  of  Romanticism ;  the 
triumph  of  the  Wagner  Music  Drama;  and  the  establishment  of  the 
Modern  Schools. 

Verdi  was  the  last  and  greatest  of  the  old  school  of  Italian  Opera 
composers,  and  the  founder  of  the  modern  school  of  Italy.  We  shall 
divide  his  works  into  three  periods : 

219 


The     Opera 

First  Period. — Simple  melodic  charm. 
"I  Lombardi,"  (1843). 

"Ernani,"  (1844).     (Story  taken  from  Victor  Hugo's  melo- 
drama). 

Second  Period. — Elaborate  dramatic  effects  in  vocal  and  orchestral 
forces. 
"Rigoletto,"  (1851),  from  Victor  Hugo's  "  Le  Roi  s'amuse." 
"II  Trovatore,"  (1853).     Extreme  melodrama. 
"La  Traviata,"  (1853).     Dumas'  "Camille." 
"The  Sicilian  Vespers,"  (1855).     Historical. 
"The  Masked  Ball,"  (1861).     Scene  laid  in  New  England. 
"Don  Carlos,"  (1867).     Historical. 

Third  Period. — Influence  of  Wagner. 
"Aida,"  (1871).     Egyptian  subject. 
"Otello,"  (1887).     Shakespeare's  Tragedy. 
"Falstaff,"  (1893).    Shakespeare's  Comedy,  "Merry  Wives  of 

Windsor." 
Manzoni  Requiem  Mass,  (1874). 

In  this  lesson  we  shall  consider  the  first  two  periods,  which  in 
reality  bring  us  the  culmination  of  the  old  Italian  School. 

Verdi 's  first  success  as  an  opera  composer  was  with  ' '  I  Lombardi ' ' 
(1843)  and  "Ernani"  (1844),  and  as  his  music  was  now  in  great 
demand,  we  find  a  new  opera  appearing  almost  every  year.  Of  course, 
many  of  these  were  failures,  but  with  the  performance  of  ' '  Rigoletto ' ' 
in  1851,  Verdi  became  universally  recognized  as  the  greatest  Italian 
master  of  the  day.  From  this  time  the  simple  melodies,  which  had 
satisfied  the  composer  for  his  early  operas,  became  more  intensely 
dramatic,  and  greater  harmonic  variety  was  employed.  Verdi  pos- 
sessed a  wealth  of  melody,  and  a  rare  gift  for  passionate  expression 
of  tragedy  and  melodrama. 

Italy  was  at  this  time  undergoing  great  political  changes,  and 
the  masculine  vigor  of  Verdi's  melodies,  seemed  to  arouse  the  patriot- 
ism of  the  Italians,  to  such  an  extent,  that  in  a  certain  sense,  we  may 
look  upon  Verdi  as  the  founder  of  a  National  School  of  Opera.  Be- 
fore the  performance  of  "Ernani"  in  1844,  the  police  forced  Verdi 
to  make  certain  changes  in  the  score  lest  it  should  provoke  an  insur- 
rection. 

Through  all  of  Verdi's  works  of  the  second  period,  is  still  to  be 
found  the  old-fashioned  bel  canto  claiming  chief  consideration,  but 
with  "Rigoletto"  a  new  force  seems  to  enter  Verdi's  operas.     "Rigo- 

220 


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letto's"  great  monologue  is  a  simple  piece  of  pure  declamation,  which 
up  to  that  time  had  been  unheard  of  in  Italy.  The  whole  of  the  last 
act  discloses  to  us  a  Verdi  which  we  do  not  again  find  until  "Aida." 

In  "II  Trovatore"  Verdi  allows  the  melodrama  to  run  wild, 
but  it  does  not  interfere  too  seriously  with  the  arias  and  concerted 
pieces,  in  fact,  one  of  the  best  duets  in  the  work  occurs  at  a  dramatic 
moment  when  it  is  so  obviously  ridiculous  that  any  one  should  stop  to 
sing,  that  the  great  musical  beauty  of  the  number  is  practically  ruined. 

In  "La  Traviata"  Verdi  shows  once  more  a  glimpse  of  his  later 
genius.  The  characterization  of  his  music  in  this  work,  would  be 
remarkable,  had  it  not  been  necessary  for  him  to  sacrifice  this  to  the 
prima  donna,  who  wished  to  display  her  vocal  attainments  as  Camille. 

The  "Sicilian  Vespers"  is  based  on  a  historical  event  of  such 
character  that  it  becomes  practically  a  national  opera.  The  work 
received  but  scant  success. 

"The  Masked  Ball"  (1861)  was  a  popular  favorite  for  many 
years.     The  scene  is  laid  in  New  England. 

"Don  Carlos"  (1867)  is  a  setting  of  a  Spanish  episode  of  Court 
life.  There  are  scenes  here  which  foreshadow  the  coming  greatness  of 
Verdi,  but  conventional  usage  frequently  spoils  them. 

ILLUSTRATIONS 

IO  sommo  Carlo     ("  Ernani  ")     (Verdi) 
Grisi,  Sangiorgi,  Cigada  and  Chorus 
Ferma,  crudele     ("Ernani")     (Verdi) 
Bernacchi,  Colazza  and  De  Luna 
92041     Monologue     ("  Rigoletto")     (Verdi)  Titta  Ruffo 

87017     La  donna  e  mobile     ("Rigoletto")     (Verdi)  Enrico  Caruso 

89018     Ai  nostri  monti     ("  II  Trovatore  ")     (Verdi)  Homer  and  Caruso 

88018     Ah,  fors' e  Iui     ("  La  Traviata  ")     (Verdi)  Mme.  Sembrich 

HINTS  FOR  TEACHERS 

If  it  seems  feasible,  practically  all,  or  any  of  these  operas  can  be 
given.  It  might  be  a  possibility  for  the  class  to  present  as  a  special 
entertainment,  one  of  these  operas;  different  members  of  the  class 
telling  the  story  and  describing  the  music.  These  illustrations 
have  been  chosen  to  show  the  three  points  mentioned  in  the  lesson. 
Enough  of  the  story  of  each  opera  should  be  told,  so  that  the  class  will 
understand  where  each  selection  occurs.  Class  should  be  reminded 
of  the  political  condition  of  Italy  at  this  time. 

221 


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QUESTIONS 

What  voices  sang  the  first  number?  The  second?  The  fifth? 
What  voice  is  heard  in  the  third?  The  sixth?  The  last?  Which 
selection  belongs  to  old  school  of  bel  canto?    Which  is  dramatic? 


Lesson  XXI 

The  Late  Verdi 

With  his  great  opera  of  "Aida,"  Verdi's  true  dramatic  greatness 
stands  revealed.  As  this  work  was  written  for  the  opening  of  the 
Grand  Opera  House  in  Cairo,  Verdi  chose  an  Egyptian  subject,  and 

this  seemed  to  give  him  an  inspiration  to 
depart  from  the  customary  operatic 
model.  Although  the  score  is  absolutely 
Italian  in  melodic  feeling,  it  must  be  con- 
ceded that  Verdi  was  greatly  influenced 
by  the  Wagner  music  drama  when  he  con- 
ceived "Aida."  He  here  uses  the  orches- 
tra with  a  proportion  and  balance  in  rela- 
tion to  the  singers,  which  is  not  found 
in  his  earlier  works.  He  also  introduces 
local  color  by  the  use  of  a  few  real 
Oriental  airs,  but  throughout  the  work 
there  is  still  the  wonderful  charm  of  the 
best  of  Italian  melody.  It  was  sixteen 
years  before  his  next  opera  appeared,  yet 
"Otello"  is  considered  by  musicians  to  be  Verdi's  masterpiece.  An 
excellent  condensation  of  Shakespeare's  tragedy  was  furnished  Verdi 
for  his  libretto,  by  the  musician,  Boito,  who  also  showed  his  dramatic 
power  in  several  scenes,  which  are  his  own  conception.  With  "Otello" 
Verdi  shook  off  all  the  shackles  of  conventionality,  but  still  kept  his 
wonderful  melodic  charm.  It  is  with  this  work,  that  Verdi  openly 
avows  the  use  of  motives,  and  displays  great  skill  in  the  working  out 
of  these  themes  in  the  orchestra. 

The  composer  was  in  his  eightieth  year  when  he  wrote  his  last 
opera,  "Falstaff,"  but  the  work  is  filled  with  the  spirit  of  youthful 


GIUSEPPE    VERDI 


The     Opera 

gaiety.  This  opera  is  also  based  on  a  Shakespearean  adaptation  made 
by  Boito,  the  music  becoming  a  definite  part  of  the  action,  in  real 
Wagnerian  manner.  The  part  writing  is  very  complicated  in  many 
instances,  but  Verdi  also  has  given  us  a  rare  and  imaginative  beauty, 
which  has  never  been  equaled  in  any  of  his  works. 

ILLUSTRATIONS 

35265  Triumphal  March     ("Ai'da")  Vessella's    Band 

88127  Celeste  Ai'da     ("Ai'da")  Enrico  Caruso 

89028  Fatal  Stone     ("Ai'da")  Mme.  Gadski  and  Caruso 

88214  Willow  Song     ("Otello")  Mme.  Alda 

88030  Credo     ("Otello")  Antonio  Scotti 

HINTS  FOR  TEACHERS 

One  entire  opera  may  be  presented  if  desired.  The  stories  of 
"Aida"  and  "Otello"  should  be  briefly  sketched,  so  class  will  under- 
stand where  these  selections  occur.  Note  the  duet  in  "Ai'da"  as  being 
a  concerted  finale,  yet  having  direct  dramatic  thought. 

QUESTIONS 

Which  voice  sings  the  first  selection?  The  second?  The  third? 
The  fourth?  What  quality  of  soprano  is  the  second?  In  the  third? 
Which  number  is  lyric?    Which  bel  canto?    Which  dramatic? 


Lesson  XXII 

Opera  in  Italy  Since  Verdi 
The  composers  in  Italy  since  Verdi  are: 

Arrigo  Bo'i'to "Mefistofele,"  (1S6S). 

Amilcare  Ponchielli  (1834- 

1886) "La  Gioconda,"  (1876) 

Nicola  Spinelli   (1865) "A  Basso  Porto." 

[  "I  Pagliacci,"  (1S92). 
RuggieroLeoncavallo(1858)     "La  Boheme,"  (1S97). 


Pietro  Mascagni   (1863) 


Maia,"  (1910). 
"Cavalleria  Rusticana,"   (1890) 
!  "Iris,"  (1898).     m 
"Ysobel"  (1912). 


223 


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Giacomo  Puccini  (1858) 


Ermanno  Wolf-Ferrari  . 


"Le  Villi,"  (1884). 
"Manon," 

"La  Boheme,"  (1896). 
"La  Tosca,"  (1900). 
"Mme.  Butterfly,"  (1904) 
"Girl  of  the  Golden  West," 
(1910). 

"Le  Donne  Curiose." 
"The  Secret  of  Suzanne,"  (1910). 
"The  Jewels  of  the   Madonna," 
(1911).      . 


We  shall  take  a  closer  study  of  Puccini's  music  in  Lesson 
XXIII,  and  "Opera  Composers  of  Italy  To-day"  will  be  considered 
in  Lesson  XXIV. 

The  direct  followers  of  Verdi  were  more  or  less  overshadowed 
by  the  towering  genius  of  their  greater  Italian  master.  It  is  a  strange 
thing  that  with  the  exception  of  Puccini  and  Wolf-Ferrari,  most  of 
the  Italian  composers  are  known  to  fame  as  composers  of  only  one 
great  work. 

Arrigo  Boi'to  is  the  composer  of  but  one  opera,  "  Mefistofele, " 
yet  in  this  work  he  has  shown  himself  to  be  a  master  of  the  Wagnerian 
X>rinciples.  In  this  adaptation  of  "Faust,"  as  an  Italian  opera,  it 
must  be  conceded  that  Boi'to  has  more  successfully  reproduced  the 
atmosphere  of  Goethe  than  any  other  opera  composer  who  has  been 
inspired  by  this  work.  Boi'to 's  dramatic  gifts  were  also  an  aid  to 
Verdi,  for  it  was  Boi'to  who  provided  the  librettos  for  both  "Otello" 
and  "FalstaflV' 

Amilcare  Ponchielli  is  known  by  his  "Gioconda,"  a  work  based 
on  Victor  Hugo's  "Angelo,  the  Tyrant  of  Padua."  There  is  much  in 
"Gioconda"  which  reflects  the  influence  of  both  "Ai'da"  and  "Mefis- 
tofele." Ponchielli  was  possessed  of  great  dramatic  gifts,  but  he 
also  understood  the  strength  of  pure  melody. 

Nicola  Spinelli  in  his  "A  Basso  Porto"  gives  us  a  picture  of 
the  darkest  side  of  life  in  Naples.  It  is  the  first  great  Italian  opera 
to  deal  with  every-day  life,  and  although  the  subject,  as  it  here  is 
used,  is  an  unpleasant  one,  it  is  a  significant  fact  that  in  our  modern 
music  we  find  a  decided  tendency  toward  the  picturing  of  life  as  we 
see  it.  One  must  acknowledge  this  as  one  of  the  results  of  national 
expression. 

224 


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ILLUSTRATIONS 

74210     Son  lo  Spirito  (I  am  the  Spirit)     ("  Mefistofele  ")     (Boi'to) 

Marcel  Journet 

87067     Folletto,  Folletto  (Sprites  of  Hades)  de  Tura-Mansueto 

85104    Voce  di  donna    (Angelic  Voice)     ("  La  Gioconda  ") 

(Ponchielli)  Louise  Homer 

64070     Cielo  e  mar  (Heaven  and  Ocean)     ("  La  Gioconda  ") 

Florencio  Constantino 

70070     Dance  of  the  Hours    ("  La  Gioconda")    Victor  Herbert's  Orchestra 

HINTS  FOR  TEACHERS 

Review  with  the  class  the  manner  in  which  "Faust"  has  been 
used  by  other  composers.     Briefly  sketch  the  story  of  "Gioconda." 

QUESTIONS 

Which  voices  sang  the  first  selection?  The  second?  The  third? 
The  last?  Which  was  dramatic?  Which  was  bel  canto?  Was  the 
dramatic  effect  aided  by  the  orchestration  in  the  second?    How? 

CHORUSES 

It  is  suggested  that  the  choral  work  for  the  remainder  of  this 
year  be  devoted  to  one  of  the  cantatas  or  operettas  listed  in 
Course  III,  page  135. 


Lesson  XXIII 

Gi acorn o  Puccini 

The  greatest,  and  at  the  same  time,  the  most  popular  composer 
in  Italy,  since  Verdi,  is  Giacomo  Puccini,  whose  works  have  been  suc- 
cessful throughout  the  musical  world.  Puccini's  first  opera,  "Le 
Villi,"  appeared  in  1884.  The  strange  subject  was  filled  with  the 
imaginative  power  of  a  genius;  and  the  orchestration,  so  descriptive 
of  the  weird  legend,  attracted  the  attention  of  the  musical  world  to 
this  jroung  composer,  although  the  work  was  not,  in  any  sense,  a 
success. 

Puccini's  next  work,  "Edgar,''  was  a  flat  failure,  but  in  his  set- 
ting of  "Man on  Lescaut"  he  shows  his  true  worth,  although  the 
Italian  version  of  the  story  has  never  been  as  successful  as  that  of  the 
gifted  Frenchman,  Jules  Massenet.     It  was  with  "La  Boheme"  in 

225 


The     Opera 

1896  that  Puccini  achieved  his  first  great  triumph,  for  this  setting 
of  Murger's  famous  novel  will  ever  remain  a  masterpiece.  Puccini 
has  here  compelled  his  Italian  genius  to  produce  a  music  drama 
on  Wagnerian  principles,  which  at  the  same 
time  depicts  the  fanciful  gay  charm  of  French 
life. 

With  "La  Tosca,"  a  condensation  of  Sar- 
dou's  drama,  Puccini  scored  another  great  success. 
This  melodrama  demands  little  for  its  success, 
from  the  musical  setting,  yet  there  are  many  pas- 
sages in  "Tosca,"  which  serve  to  show  Puccini's 
lyrical  gifts. 

When  "Madame  Butterfly,"  based  on  Luther 
Long's  Japanese  story,  was  first  produced  in  Italy 
(1894)  it  was  hissed,  but  it  won  universal  recog- 
nition throughout  Europe  and  America,  and  is 
to-day,  ranked  with  "Boheme"  and  "Tosca."  Here  Puccini's  gift  of 
emotional  strength  is  given  ample  power  of  expression. 

In  his  last  work,  "The  Girl  of  the  Golden  West,"  a  setting  of 
Belaseo's  American  play,  Puccini  has  again  chosen  a  melodrama,  and 
his  music  becomes  but  an  incidental  background  to  the  spirited  action 
of  this  drama. 

Many  years  ago  the  great  Verdi  named  Puccini  as  his  rightful 
successor,  and  the  world  has  certainly  justified  Verdi's  choice. 

ILLUSTRATIONS 


GIACOMO    PUCCINI 


64085 

55020 


88122 
88010 


88113 

89008 


"LA  BOHEME" 
Musetta  Waltz 

Duet  "C'e  Rodolfo"  (Where  is  Rudolph) 
Quartet — Addio     (Farewell,  Sweet  Love) 

Sanipoli,  Passari,  Ciccolini  and  Badini 

"TOSCA" 

Cantabile  Scarpia   (Venal,  My  Enemies  Call  Me) 
Vissi  d'arte  (Love  and  Music) 

"MADAME  BUTTERFLY" 

Un  bel  dl  vedremo  (Some  Day  He'll  Come) 
Tutti  i  fior  (Duet  of  the  Flowers)  Mmes 


Gina  Viafora 
Boccolini  and  Badini 


Antonio  Scotti 
Mme.  Eames 


Mme.  Farrar 
Farrar  and  Homer 


HINTS  FOR  TEACHERS 
This  program  is  planned  for  a  special  opera  day.     The  stories 
of  these  operas  should  be  briefly  sketched  so  that  pupils  will  know 
the  relation  of  these  numbers  to  the  dramatic  context. 


226 


The     Opera 

QUESTIONS 

What  voices  did  you  hear  in  the  first  selection?  The  second? 
The  third?  The  fourth?  The  fifth?  The  last?  Which  was  the 
most  dramatic  selection?  Which  the  most  lyric?  Which  was  the 
best  example  of  bel  canto?  In  which  did  you  feel  the  influence  of 
Wasrner? 


Lesson  XXIV 

Italian  Composers  Today 

All  the  greatest  Italian  Opera  composers  of  to-day  reflect  the 
combination  of  the  Italian  bel  canto  with  the  principles  of  the  Wag- 
nerian Music  Drama.  Although  Puccini  is  the  most  prolific  composer 
of  Italy,  we  find  that  Leoncavallo  in  "I 
Pagliacci,"  and  Mascagni  in  "Cavalleria 
Rusticana,"  have  won  universal  recognition. 

Pietro  Mascagni  (1863)  won  his  first 
fame  as  an  opera  composer  with  his  "Cav- 
alleria Rusticana,"  produced  in  1890.  The 
success  of  this  work  has  been  phenomenal. 
The  story  is  a  simple  Sicilian  tale,  which 
Mascagni  has  set  to  vigorous  music,  oft- 
times  coarse,  but  always  melodious.  The 
over-praise  of  "Cavalleria"  had  a  serious 
effect  on  Mascagni 's  later  works,  for  he  has 
not  again  equaled  the  strength  of  his  first 
opera. 

Ruggiero  Leoncavallo  (1858),  although  older  in  years  than  Mas- 
cagni, followed  the  lead  of  the  composer  of  "Cavalleria"  in  the  writ- 
ing of  "I  Pagliacci,"  which  is  also  a  setting  of  a  simple  Italian  tale. 
of  every-day  life.  This  is  but  a  short  opera,  yet  it  is  the  only  one 
of  Leoncavallo's  works  which  has  scored  a  genuine  success.  Leon- 
cavallo is  too  theatrical  and  sensational  in  his  art  to  be  considered  as 
a  remarkable  genius.  His  music  is  reminiscent  of  Wagner,  Meyer- 
beer and  Verdi,  yet  his  command  of  orchestral  forces,  gives  an  im- 
passioned dramatic  strength  to  his  works.  Leoncavallo  writes  all  his 
own  librettos. 

The  greatest  genius  in  opera  to-day  is  the  young  Ermanno  Wolf- 


RUGGIERO     LEONCAVALLO 


227 


The     Opera 

Ferrari  (1876),  whose  works  have  been  received  with  such  great  en- 
thusiasm in  Europe  and  America  in  the  past  five  years.  Wolf-Ferrari 
is  the  son  of  a  German  Hebrew  father  and  an  Italian  mother.  He  was 
trained  in  the  strictest  rules  of  counterpoint  of 
Josef  Rheinberger,  of  Munich,  then  went  to  Italy, 
where  he  spent  several  years  under  the  guidance  of 
Verdi.  The  result  is  a  German  foundation  of  com- 
position and  orchestration,  combined  with  the 
Italian  melody,  giving  its  expression  in  the  mould 
of  the  Wagnerian  music  drama.  Wolf-Ferrari,  in 
"Le  Donne  Curiose, "  a  setting  of  Goldoni's  com- 
edy, and  in  "The  Secret  of  Suzanne,"  a  little  one- 
act  comedy,  has  displayed  a  charm  and  grace  which 
are  reminiscent  of  Mozart.  "The  Jewels  of  the 
Madonna,"  which  was  given  its  Italian  premiere, 
pieteo  mascagni  under  the  direction  of  the  composer,  by  the  Chicago 
Opera  Company,  in  January,  1912,  is  one  of  the  greatest  works  which 
has  been  produced  in  the  opera  since  Wagner.  A  sordid,  unpleasant 
tale  of  Neapolitan  every-day  life  is  the  theme,  but  Wolf-Ferrari's 
remarkable  dramatic  sense  (the  composer  writes  his  own  librettos)  has 
given  a  perfect  picture  of  Naples  to-day.  Wolf -Ferrari 's  use  of  the 
Neapolitan  folk  melodies  is  masterly.  No  composer  since  Dvorak  has 
caught  the  essence  of  the  folk  spirit  as  does  the  composer  of  this  opera. 

ILLUSTRATIONS 

87072     Siciliana     (Thy  Lips  Like  Crimson  Berries)     ("  Cavalleria 

Rusticana")     (Mascagni)  Enrico  Caruso 

88029     Prologo     ("  I  Pagliacci ")     (Leoncavallo)  Antonio  Scotti 

35270     Intermezzo     ("The  Jewels  of  the  Madonna  ") 

(Wolf-Ferrari)  Victor  Concert  Orchestra 

89057     Duet,  II  dolce  Idillio     (Dost  Thou  Remember)     ("USegreto 

di  Susanna")     (Wolf-Ferrari)  Mme.  Farrar  and  Amato 

HINTS  FOR  TEACHERS 

For  a  special  opera  day,  either  "Cavalleria  Rusticana"  or  "I 
Pagliacci"  are  possible,  as  the  stories  may  be  easily  readapted  for 
school  use,  and  all  the  music  is  arranged.  Make  a  point  of  the  man- 
ner in  which  both  Mascagni  and  Leoncavallo  introduce  their  operas 
with  the  "Siciliana"  and  "Prologo."  The  stories  of  both  the  Wolf- 
Ferrari  operas  should  be  sketched. 

228 


The     Opera 

QUESTIONS 

What  voices  do  you  hear  in  the  first  selection?  The  second? 
The  fourth?  Which  is  lyric?  Which  dramatic?  Which  is  the  best 
example  of  bel  canto?  Of  what  composer's  style  is  Wolf-Ferrari 
reminiscent?  Where  do  we  find  another  great  example  of  the  use  of 
the  Intermezzo,  in  Italian  Opera? 


L 


esson 


XXV 


Gounod 

As  we  have  already  observed,  the  opera  in  France,  up  to  the  mid- 
dle of  the  nineteenth  century,  had  been  almost  entirely  influenced  by 
either  Italian  or  German  composers.  Yet  the  Modern  French  Opera 
School  is  one  of  the  strongest  forces  in  the 
development  of  the  music  drama  since 
Wagner. 

The  first  great  French  genius  of  the 
modern  schools  was  Charles  Gounod  (1818- 
1893),  who  was  trained  in  the  school  of 
Meyerbeer,  but  who  was  also  strongly  influ- 
enced, first  by  the  purity  and  serenity  of 
Mozart,  later  by  the  strength  of  Wagner. 
Gounod's  first  opera,  "Sapho"  (1851), 
was  never  really  successful,  but  in  his  set- 
ting of  Moliere's  comedy  "Le  Medecin 
Malgre  Lui,"  he  scored  an  immediate  popu- 
larity. 

It  was  not  until  1859  that  Gounod's  reputation  was  absolutely 
established,  with  the  production  of  his  masterpiece,  "Faust.''  No 
later  work  of  Gounod's  has  ever  reached  the  heights  of  dramatic 
musical  beauty,  which  we  find  in  his  setting  of  Goethe's  tragedy. 
"Philemon  et  Baucis,"  his  next  work,  was  built  on  the  lines  of  the 
Opera  Comique ;  with  ' '  La  Reine  de  Saba ' '  he  returned  to  the  Grand 
Opera  style  once  again;  but  neither  in  this  work,  nor  in  "Mireille," 
did  he  achieve  the  popularity  of  "Faust."  In  1869  his  "Romeo  et 
Juliette"  was  given  to  the  world.  This  work  is  regarded,  as  ranking 
next  to  "Faust"  in  the  catalogue  of  Gounod's  works,  but  there  are 


CHARLES    GOUNOD 


229 


The     Opera 

many  critics,  who.  although  acknowledging  the  beauties  of  Gounod's 
oilier  works,  claim  immortality  only  for  "Faust." 

" Faust''  has  certainly  had  a  more  direct  influence  on  Gounod's 
followers  than  any  other.  We  notice  this  in  the  masterpiece  of 
Ambroise  Thomas  (1811-1896),  "Mignon."  In  "Mignon"  we  have 
a  graceful  and  charming  setting  of  Goethe's  "Wilhelm  Meister." 
"Hamlet,"  also  by  Thomas,  has  met  with  ;i  well-deserved  success. 

ILLUSTRATIONS 

"  FAUST  " 

The  entire  opera,  if  possible;  at  any  rate  give  the  best-known 
selections,  which  will  serve  to  make  the  drama  seem  a  complete  whole 
(See  Victor  Catalogue  and  Victor  Book  of  the  Opera.) 

HINTS  FOR  TEACHERS 

In  giving  "Faust"  by  Gounod,  review  the  Faust  legend  as  we 
find  it  used  in  music.  The  legend  of  the  redeeming  power  of  woman's 
love,  is  found  in  all  folk  legends.  On  the  sea  it  becomes  "The  Flying 
Dutchman  " ;  in  the  South  ' '  Don  Juan  " ;  in  the  mountains  ' '  Man- 
fred"; in  the  forest  towns  "The  Free-shooter";  in  the  scholastic 
towns  "Doctor  Faustus. "  It  is  a  strange  fact  that  our  best  musical 
settings  of  Goethe 's  works  have  been  made  by  Frenchmen. 


Lesson  XXVI 

Opera  in  France  Since  IVagnei — Bizet 

The  real  founder  of  Modern  French  Opera  Comique  was  Daniel 
Auber  (1782-1871),  whose  long  life  enabled  him  to  see  the  rise  of  the 
French  School  of  Opera,  the  Reforms  of  Wagner  and  the  dawn  of 
Modern  Music.  Auber  is  noted  for  his  operas  of  the  lighter  style,  the 
two  best  known  being  "Fra  Diavolo"  and  "Masaniello. "  Auber  had 
many  imitators,  chief  among  them  being  Adolphe  Adam  (1803-1856), 
whose  "Chalet"  and  "Postilion  de  Longjumeau"  are  both  still  given; 
and  Felicien  David  (1810-1876),  who  was  the  first  Frenchman  to  bring 
into  music,  Oriental  color,  as  he  chose  for  all  his  operas  Oriental  sub- 
jects.   His  best  work  was  "Le  Desert." 

230 


The     Opera 


The  greatest  genius  of  this  type  of  opera  was  Georges  Bizet 
(1838-1875).  With  Bizet  the  influence  of  Wagner  is  more  keenly 
Pelt  than  in  the  works  of  any  other  French  composer.  Bizet's  genius 
is  first  shown  in  two  Oriental  works 
modeled  after  David,  and  employing  the 
ideas  of  Wagner.  These  are  ' '  The  Pearl 
Fishers"  and  "Djamileh,"  which,  al- 
though Oriental  and  charming,  seem 
scarcely  worthy  to  rank  with  Bizet's 
masterpiece,  "Carmen."  It  seems  hard 
to  realize  to-day  that  this  great  work 
was  received  with  such  coldness,  when 
it  was  produced  in  1875,  that  Bizet  died 
shortly  after  it  performance,  a  broken- 
hearted man.  The  popularity  of  "Car- 
men" has  been  phenomenal,  but  it  is 
rightly  deserved,  for  in  no  modern  work 
has  the  true  dramatic  depth  of  tragedy 
been  more  fittingly  set  to  music,  than  in 
this  remarkable  picture  of  Spanish  life  and  character.  "Carmen" 
may  rightly  be  considered  national  opera,  for,  although  the  work  of 
a  French  composer,  the  spirit  of  the  Spanish  folk  has  been  reflected  in 
every  measure  of  this  music. 

There  are  three  other  opera  composers  of  this  period  who  must 
be  briefly  considered : 

Ernest  Reyer  (1823-1909)  uses  the  same  Niebelungen  legends  in 
his  "Sigurd"  which  Wagner  uses  in  "The  Rin^. " 

Leo  Delibes   (1836-1891)  ;  his  greatest  work  is  the  Indian  opera 
of  "Lakme."    Has  written  many  charming  ballets. 

Edouard    Lalo     (1823-1892),    a    composer    of    charming    grace. 
Greatest  work  is  "  Le  Roi  d  'Ys. ' ' 


GEORGES     BIZET 


ILLUSTRATIONS 

All  of  "Carmen"  that  is  possible.     (See  Victor  Catalogue.) 

HINTS  FOR  TEACHERS 

In  presenting  "Carmen"  accent  the  fact  that  the  opera  of  today 
reflects  life  as  it  is  found  in  every-day  reality.     Our  stage,  our  liter- 


231 


The     Opera 

ature  and  our  art  are  either  realistic  or  impressionistic  in  character. 
"Carmen"  is  a  most  remarkable  example  of  stage  realism.  Accent 
also  the  folk  spirit  found  in  Modern  Music. 


Lesson  XXVII 

Opera  in  France  Since  Wagner — Massenet 

The  most  prolific  opera  writer  of  the  present  day,  was  Jules 
Massenet  (1842-1912),  of  the  French  School.  Massenet  graduated 
from  the  Conservatoire,  winning  the  Grand  Prix  de  Rome,  and  after 

his  return  from  Italy,  became  a  professor 
at  the  Conservatoire,  and  also  a  Director 
at  the  Opera  Comique. 

Massenet's  operas  are  classed  as  lyric 
dramas,  and  follow  the  general  idea  of 
Gounod,  from  whom  he  has  inherited  a 
sensuous  melodic  gift,  which  is  ever  the 
great  charm  in  his  works.  Massenet,  has 
also  proved  himself  susceptible  to  the  in- 
fluence of  Wagner,  although  even  in  those 
operas,  where  the  Wagnerian  system  of 
guiding  themes  is  most  apparent,  one  ever 
feels  the  distinct  influence  of  the  French 
School.  His  works  have  had  a  tremendous 
vogue  in  Paris,  England  and  America,  in 
jules  massenet  the  past  decade.    Massenet  has  used  many 

subjects  from  all  schools  and  lands,  as  the  dramatic  foundations  for 
his  works.  His  first  opera  was  "Le  Roi  de  Lahore,"  which  was  pro- 
duced in  1877.  "Herodiade,"  in  1881,  contains  some  of  the  best  music 
Massenet  has  ever  written,  though  the  spectacle  of  Salome  singing  a 
love  duet  with  John  the  Baptist,  can  hardly  be  considered  as  dra- 
matically fitting. 

"Manon"  (1884)  is  one  of  Massenet's  most  sucessful  works,  for 
this  delicate  drama  is  admirably  suited  to  his  style.  "Le  Cid"  and 
"Le  Mage"  were  regarded  as  failures,  but  "Esclarmonde"  (1889) 
marks  an  important  stage  in  Massenet's  career,  as  his  use  of  the  Wag- 
nerian principles  now  becomes  clearly  apparent. 

For    his    next    work    Massenet    uses    a    German    text,    Goethe's 


232 


The     Opera 

"Werther,"  inspiring  him  with  a  musical  setting  considered  by  many 
musicians  to  be  his  best.  "Thais"  and  "La  Navarraise"  were  both 
produced  in  1894  and  have  proved  to  be  remarkably  popular,  though 
hardly  to  be  ranked  with  Massenet's  best  works.  The  sentimental 
quasi-religious  appeal  of  ' '  Thai's ' '  has  proved  to  be  a  strong  attraction 
to  the  general  public,  though  its  superficialities  are  most  apparent  to 
the  serious  musician.  "Sapho"  (1897),  "Cinderella"  (1899),  and 
"Griselidis"  (1901),  are  all  works  of  light  calibre,  but  in  1902  Masse- 
net revealed  an  almost  forgotten  genius  in  "Le  Jongleur  de  Notre 
Dame,"  which  is  a  musical  setting  of  an  old  mediaeval  legendary 
story,  that  is  sincere,  simple  and  beautiful  in  its  direct  appeal.  In 
]890  "Don  Quichotte"  made  a  successful  debut.  Massenet's  last  work, 
"Roma,"  was  recently  presented  in  Europe  and  has  won  great 
success. 

ILLUSTRATIONS 

74123     Legend  of  the  Sagebush     ("Jongleur  de  Notre  Dame  ") 

(Massenet)  Marcel  Journet 

74135     Meditation     ("Thai's")     (Massenet)  Maud  Powell 

88153     Aria — "  Fleeting  Vision"     ("  Herodiade  ")     (Massenet) 

Emilio  de  Gorgoza 

HINTS  FOR  STUDY 

The  teacher  should  be  familiar  with  the  stories  of  "Jongleur," 
"Thai's"  and  "Herodiade."  Class  should  be  given  the  bare  outline 
of  "Thai's"  and  "Herodiade,"  but  the  complete  story  of  "Jongleur" 
is  an  excellent  one  for  use  in  the  school,  as  it  is  such  a  good  example 
of  mediaeval  musical  life.  As  this  selection  is  taken  from  an  old  French 
legend,  and  the  music  is  from  an  old  air,  it  is  an  excellent  illustration  of 
the  adaptation  of  national  expression  by  our  modern  composers. 

QUESTIONS 
Who  were  the  Jongleurs?     When  did  they  live?     Can  one  con- 
sider "Herodiade"  a  sacred   opera?     Why  not?     Where   does   the 
"Meditation"   occur   in   "Thai's"?      For  what   dramatic   effect   is   it 
employed?    AVhat  violin  effects  do  you  observe  in  this  selection? 


Lesson  XXVIII 

Opera  in  France  Today — // 
The  French  music  of  to-day  reflects  the  phase  of  modern  French 
literature  and  art,  which  we  know  as  Impressionism.    One  of  the  best 
critics  of  the  time  speaks  of  these  composers  as  "writing  the  music 
of  to-morrow. "    It  is  certainly  the  most  important  music  of  to-day. 


233 


The     Opera 


Vincent  D'Indy  (1851-  ),  a  fol- 
lower of  the  school  of  Cesar  Franck,  is  the 
most  avowed  Wagnerian  of  this  group.  His 
"Fervaal"  (1897)  was  clearly  modeled 
after  the  Wagnerian  pattern,  but  his  later 
works  have  shown  a  decided  leaning  toward 
the  Impressionistic  School. 

Gustave  Charpentier  (I860-  )  struck 
a  new  note  in  the  French  Opera,  when  his 
"Louise"  was  first  heard  in  1900.  This 
work,  which  is  the  story  of  an  every-day 
working  girl  in  Paris,  is  a  marvelous  pic- 
ture of  the  seamy  side  of  the  Bohemian  life 
certain    sense   this    is   a 


VINCENT    DINDY 

in    Paris   to-day.      In    a 

remarkable  phase  of  national  expression. 

Claude  Debussy  (1862-  )  is  the  particular 
and  individual  genius  on  whom  the  eyes  of  the 
musical  world  are  at  present  directed.  Debussy 
has  returned  to  the  old  Greek  modes  for  his 
melodic  inspiration,  and  his  music  is,  as  one 
writer  says,  ' '  a  fluid  impressionism. ' '  In 
"L  'Enfant  Prodigue,"  his  first  opera,  he  hinted 
at  his  new  forms,  but  with  ' '  Pelleas  et  Melisande ' ' 
he  has  given  us  a  marvelous  example  of  the  mys- 
tery of  the  poet  Maeterlinck,  reflected  in  his 
musical  setting.  In  his  last  work,  "St.  Sebas- 
tian" (1911),  Debussy 
ideas    still    further 


CLAUDE    DEBUSSY 


ias  carried  his 
Here  the  lines  are 
declaimed,  without  musical  accompaniment, 
the  music  being  entirely  symphonic  in  char- 
acter, and  reflecting  the  action  of  the  piece. 
We  are  too  near  to  the  music  of  Debussy 
to  see  his  works  in  their  proper  perspective; 
only  time  will  tell  if  this  is  to  be  the  lasting 
form  of  opera  in  the  future. 

A  direct  follower  of  Debussy  is  Paul 
Dukas,  whose  greatest  operatic  work  is  his 
setting  of  Maeterlinck's  "Ariane  et  Barbe 
Bleue." 


GUSTAVE    CHARPENTIER 


The     Opera 

ILLUSTRATIONS 

70085     Depuis  le  jour  (Ever  Since  the  Day)     ("Louise")     (Charpentier) 

Florence  Hinkle 

88281     Air  de  Lia     ("  L'Enfant  Prodigue  ")     (Debussy) 

Jeanne  Gerville-Reache 

HINTS  FOR  TEACHERS 
Review  Lesson  XXVII,  Course  II,  and  Lesson  XXX,  Course  III. 
Speak  at  length  on  the  modern  impressionistic  school  of  French  liter- 
ature and  art.     Review  with  class  the  influence  of  literature  and  art 
on  the  music  of  France  since  the  Revolution. 


Lesson  XXIX 

Modern  Oratorio 

We  found  that  all  oratorios  have  been  more  or  less  influenced  by 
the  opera  ever  since  the  birth  of  the  two  forms.  In  the  modern 
schools  we  shall  find  that  this  influence  is  most  keenly  apparent  in  the 
French  and  Italian  Schools,  for  the  oratorios,  which  have  come  from 
Germany  and  England  in  the  modern  day,  are  more  truly  religious 
in  character. 

Verdi's  great  Requiem  Mass  was  written  for  Manzoni,  the  Italian 
patriot,  and  while  reflecting  the  style  of  the  composer,  it  is  a  great 
advance  in  religious  feeling  on  the  religious  works  of  Italy  at  the 
time  of  Rossini.  To-day  in  Italy  the  Pope  has  ordered,  the  return  to 
the  Gregorian  Chant,  and  the  influence  of  this  truly  religious  reforma- 
tion in  music,  is  strongly  felt  in  the  masses  of  Don  Lorenzo  Perosi 
(1872),  who  has  united  the  style  of  Palestrina  with  modern  dramatic 
expression. 

In  France.  Charles  Gounod,  wrote  three  oratorios,  which  are 
reflective  of  the  same  style  as  his  operas.  These  works  are  "Messe 
Solennelle"  (1850),  "Redemption"  (1883),  "Mors  et  Vita."  Saint- 
Saens'  Biblical  opera,  "Samson  et  Dalila,"  is  frequently  presented  on 
the  concert  stage  as  an  oratorio. 

"The  Seven  Last  Words  of  Christ,"  by  Theodore  Dubois  (1837), 
is  another  excellent  example  of  the  French  style. 

But  the  greatest  French  work  in  this  form  is  unquestionably 
"The  Beatitudes,"  by  Cesar  Franek.  who  also  wrote  two  other  ora- 
torios, entitled  "Ruth"  and  "Redemption." 

235 


The     Opera 

In  the  German  School  our  greatest  oratorio  is  the  "German 
Requiem"  of  Johannes  Brahms,  which  is  regarded  as  the  greatest 
choral  work  of  modern  days. 

Max  Bruch  (1838).  of  the  German  school,  has  written  two  excel- 
lent cantatas,  entitled  " Frith jof"  and  "Fair 
Ellen."  Of  the  younger  German  composers. 
Georg  Schumann  has  given  us  recently  a 
remarkable  oratorio  based  on  the  story  of 
"Ruth." 

Antonin  Dvorak  left  three  remarkable 
choral  works,  "Stabat  Mater";  "St.  Lud- 
nilla";  and  "Requiem  Mass,"  which  are 
often  given. 

Grieg's  cantata.  "Olaf  Trygvason,"  is 
an  example  of  national  expression. 

The   greatest   modern    oratorios   of   the 
school  of  Handel  are  the  three  great  works 
max  bruch  j)y  Edward  Elgar.  of  England:  "Caracta- 

cus";  "The  Apostles";  and  "The  Dream  of  Gerontius. " 


ILLUSTRATIONS 

35075     Unfold  Ye  Portals     ("The  Redemption")    (Gounod)     Trinity  Choir 

87087     Pause  My  Brothers    ("  Samson  et  Dalila  ")  Charles  Dalmores 

88199     My  Heart  at  Thy  Sweet  Voice       ("Samson  et  Dalila") 

Mme.  Homer 

17180     Chorus     ("  Samson  et  Dalila  ")  (Spring  Flowers)  Chorus  of  Women 


HINTS  FOR  TEACHERS 

Make  a  strong  point  of  the  difference  between  sacred  and  secular 
music.  This  is  a  good  time  to  review  the  influence  one  has  had  on  the 
other,  since  the  beginning  of  musical  history.  The  selections  from 
"Samson  et  Dalila"  are  chosen  especially  to  show  that,  in  the  same 
work,  we  may  find  religious  feeling,  and  purely  operatic  art.  Be  sure 
and  have  class  recall  the  choruses  they  have  had  in  school  from  all 
these  works. 


In  the 
secular  ?    Why  ? 


QUESTIONS 
Samson  et  Dalila"  records,  which  is  religious?     Which 


236 


The     Opera 


L 


esson 


XXX 


Opera  in  America 

It  has  been  said  that  the  Americans  of  the  present  day  are  the 
greatest  patrons  of  opera  in  the  world.  It  is  certainly  true  that  the 
greatest  singers  of  the  world  are  receiving  their  largest  fees  to  appear 
before  American  audiences,  while  the  eyes 
of  all  the  operatic  composers  of  Europe 
are  looking  toward  America  as  the  land 
certain  to  give  them  fame  and  fortune, 
with  the  production  of  any  new  good 
work. 

As  a  further  proof  of  this  it  will  be 
easy  to  recall  that  several  of  the  greatest 
modern  operas  have  been  given  their  pre- 
mieres on  the  American  opera  stage  dur- 
ing the  past  two  seasons,  and  that  their 
composers  have  come  to  America  to  per- 
sonally superintend  the  production.  These 
works  are : 


VICTOR     HERBERT 


The    Girl    of    the    Golden    West,"  Puccini; 

' '  Koenigskinder, ' '    Humperdinck ; 
"The    Jewels    of    the    Madonna,"    Wolf- 
Ferrari. 

American  singers  have  been  popular  for 
many  years  on  the  opera  stages  of  Europe,  and 
it  may  be  said  that  the  greatest  successes  of 
recent  years  in  both  the  Paris  and  Berlin  Opera 
Houses  have  been  won  by  American  singers. 

Our   great  Metropolitan   Opera   Company 
has  done  much  for  the  good  of  opera,  but  with 
the  establishment  of  the  splendid  companies  in 
Boston,  Chicago  and  Philadelphia,  still  greater 
results  will   be   attained.     All  of  these   great 
companies  are  doing  their  utmost,  not  only  to 
aid  the  American  singer  to  obtain  a  hearing,  but  also  to  help  the  Ameri- 
can composer  to  secure  a  production  of  his  works  in  his  native  land. 
The  interest  in  Victor  Herbert's  "Natoma";  "The  Pipe  of  De- 
sire" and  "The  Sacrifice."  bv  Frederick  Converse;  and  the  Metro- 


HORATIO    PARKER 


237 


The     Ope r a 

politan  prize  opera,  "Mona,"  by  Horatio  Parker;  are  all  hopeful 
signs  that  the  American  public  is  eager  and  anxious  to  welcome  the 
good  works  by  native  composers. 

Much  is  also  being  done  for  the  betterment  of  opera  in  the  smaller 
cities  by  the  excellent  traveling  organizations,  now  presenting  English 
versions  of  the  greatest  operatic  masterpieces. 

The  greatest  musicians  of  the  world  agree  that  within  the  next 
decade  an  American  School  of  Opera  will  be  an  accomplished  reality. 

ILLUSTRATIONS 

70049     Natoma — Dagger  Dance,  Act  II  Victor  Herbert's  Orchestra 

74295     Natoma — Paul's  Address,  Act  II     (Herbert)  John  McCormack 

31864    Natoma  Selection     (Victor  Herbert)  Arthur  Pryor's  Band 

60072  Natoma — Serenade  (When  the  Sunlight  Dies)  Reinald  Werrenrath 
74274     Natoma— Spring  Song     (I  List  the  Trill  of  Golden  Throat) 

(Act  II)      (Personally  directed  by  Victor  Herbert)  Alma  Gluck 

ILLUSTRATIONS  FOR  REVIEW 

Give  the  composer,  his  period,  nationality,  school,  and  briefly 
state  what  type  of  music  is  found  in  this  selection,  and  what  voices 
are  heard : 

Benediction  of  Swords,  "Huguenots." 

Largo  al  Factotum,  "Barber  of  Seville." 

Habanera,  "Carmen." 

Wotan's  Farewell,  "The  Valkyrie." 

La  Donna  e  mobile,  "Rigoletto. " 

Hexenritt,  "Hansel  and  Gretel." 

Duet  of  Flowers,  "Madame  Butterfly." 

Briinnhilde's  Battle  Cry,  "The  Valkyrie." 

Comfort  Ye  My  People.  "The  Messiah." 

If  With  All  Your  Hearts,  "Elijah." 

My  Heart  at  Thy  Sweet  Voice,  "Samson  and  Delilah." 

Prize  Song,  "Meistersinger. " 

Sextet,  "Lucia." 

Ah  fors'  e  lui.  "Traviata." 

Cujus  Animam.  "Stabat  Mater." 

Toreador  Song.  "Carmen." 

Jewel  Song.  "Faust." 

Invocation,  "Magic  Flute." 

I  Have  Lost  My  Eurydice,  "Orpheus  and  Eurydice." 

Largo,  "Xerxes." 

The  Fatal  Stone,  "Ai'da." 

238 


Analyses 


Hints  for  Teachers 

These  short  analyses  are  only  guides  for  further  study.  They 
are  not  in  any  sense  complete.  We  have  given  the  translations 
of  the  principal  arias,  but  not  those  sung  in  English,  or  where  the 
words  are  well  known.  These  numbers  are  arranged  in  the  alpha- 
betical order  of  the  composers. 

The  new  "Victor  Book  of  the  Opera,"  published  by  the  Victor 
Company,  will  be  of  the  greatest  aid  to  the  teacher  in  presenting  all 
operatic  numbers. 

17190     The  Lass  With  the  Delicate  Air  Dr.  Arne 

This  charming  old  English  song  belongs  to  the  eighteenth  cen- 
tury, as  Dr.  Thomas  Arne  lived  from  1710  to  1778.  Dr.  Arne  was 
not  only  a  fine  performer  on  the  violin  and  spinet,  but  he  also  con- 
ducted both  choruses  and  orchestras,  and  in  his  day  was  regarded  as 
the  greatest  English  composer  since  Henry  Purcell.  His  music  all 
reflects  tbe  over  elaborated  style  of  his  period.  [Lesson  XXIX, 
Course  I.] 
64132     Gavotte  in  E  Major  Bach 

The  Gavotte  is  an  old  French  dance,  said  to  have  originated  in 
the  Province  of  Dauphine,  Le  Pays  du  Gap,  from  whence  it  takes 
its  name,  Gavotte,  as  the  people  in  that  locality  are  called  the  Gavots. 
It  is  distinguished  from  some  of  the  dances  of  the  day,  in  that  the 
dancers  lifted  their  feet  instead  of  shuffling  them.  This  dance  be- 
came very  popular  in  French  court  life  during  the  last  part  of  the 
seventeenth  century.  It  follows  in  form  the  outline  of  the  dance, 
contrasting  dance  (or  trio),  and  return  to  the  original  dance.  [Les- 
son IX,  Course  II.] 

81045     Ave  Maria  Bach-Gounod 

Bach's  beautiful  setting  of  this  great  religious  text  was  re-written 
in  its  present  form  by  Gounod.  The  French  composer  retained  all 
tbe  religious  simplicity  of  Bach's  original  version.  This  aria  is  sung 
in  Latin,  and  I  lie  obbligato  to  the  soprano  voice,  is  played  by  the 
violin.     [Lesson  IX,  Course  II.] 

239 


Analyses 

17184     Bourree  from  Violoncello  Suite  III  Bach 

This  charming  little  use  of  the  old  dance  form,  is  taken  from  one 
of  Bach's  suites  for  violoncello.  The  Bourree  was  a  favorite  dance 
with  Bach,  and  we  find  him  making  frequent  use  of  this  dance  form. 
This  dance  was  of  great  strength  and  virility,  was  in  4-4  time  and 
followed  the  customary  pattern  of  dance,  trio  dance.  [Lesson  IX, 
Course  II;  Lesson  XV,  Course  III.] 

16398     Then  You'll  Remember  Me     (2)  I  Dreamt  I  Dwelt  In  Marble 

Halls     ("The  Bohemian  Girl")  Balfe 

Michael  Balfe  (1808-1870)  will  always  be  remembered  as  the 
composer  of  the  ever  popular  "Bohemian  Girl,"  which  was  first 
produced  in  1843  at  the  Drury  Lane  Theatre,  London.  The  story 
of  the  beautiful  Arline,  who  is  stolen  from  the  home  of  her  father, 
Count  Arnheim,  and  is  brought  up  by  the  gypsies,  is  so  familiar  that 
it  need  not  here  be  repeated.  "Then  You'll  Remember  Me"  is  sung 
by  Thaddeus,  the  faithful  friend  and  later,  lover  of  Arline.  "I 
Dreamt  I  Dwelt"  is  Arline 's  song  in  the  second  act  as  she  tells 
Thaddeus  of  her  dream.  (As  both  of  these  numbers  are  sung  in 
English,  it  is  not  necessary  to  here  quote  the  words.)  [Lesson  XVIII, 
Course  IV.] 
74109     Come  Into  the  Garden  Maud  Balfe 

Michael  Balfe  (1808-1870)  was  an  Irish  composer,  whose  most 
popular  work  was  his  opera  "The  Bohemian  Girl."  This  charming 
setting  of  Tennyson's  lovely  poem  has  met  with  great  favor  as  a 
concert  selection.  It  is  an  excellent  example  of  poetic  thought.  [Les- 
son V,  Course  I;  Lesson  XXVIII,  Course  II.] 

17106     Voice  of  the  Western  Wind  Barnby 

Sir  Joseph  Barnby  (1831-1896)  was  a  popular  English  organist 
and  composer,  who  is  known  chiefly  by  his  simple  beautiful  songs. 
"Sweet  and  Low"  is  a  universal  favorite,  and  this  beautiful  song, 
"The  Voice  of  the  Western  Wind,"  here  sung  by  a  trio  of  women's 
voices,  is  another  beautiful  example  of  Barnby 's  melodic  gift.  [Les- 
son VI,  Course  I.] 
87026     The  Year's  at  the  Spring  Mrs.  Beach 

Among  American  composers  none  occupies  a  more  enviable  posi- 
tion than  does  Mrs.  H.  H.  A.  Beach,  of  Boston.  Mrs.  Beach  is  an 
outgrowth  of  the  school  of  composition  of  John  Knowles  Paine.  She 
is  the  composer  of  a  number  of  large  works  for  orchestra  and  chorus. 

240 


Analyses 

and  many  shorter  compositions  for  piano  and  violin.  Of  her  sixty 
beautiful  songs,  none  is  more  popular  than  her  charming  setting  of 
Robert  Browning's  song  of  happiness  from  "Pippa  Passes."  [Lesson 
XXIX,  Course  II.] 

74307     Adelaide  Beethoven 

One  of  the  most  beautiful  of  Beethoven's  early  songs  is  the 
"Adelaide."  In  this  lovely  lyric  composition,  the  influence  of  the 
Italian  School  of  bel  canto  is  clearly  apparent.  Students  should  notice 
this  and  contrast  this  song  with  the  later  songs  of  Beethoven  and  the 
songs  of  Schubert-     [Lesson  XIII,  Course  II.] 

\Part  II>Overture,  Leonore  No.  3,  Op.  72  In  three  parts  Beethoven 
35269  Part  III) 

This  work,  which  is  regarded  as  the  greatest  overture  ever 
written,  is,  in  reality,  the  second  overture  composed  by  Beethoven 
for  the  second  production  (1806)  of  his  one  opera,  "Fidelio. "  Beetho- 
ven rewrote  the  opera  three  times,  so  that  we  have  three  overtures 
known  as  ' '  Leonore, ' '  and  one  overture  called  ' '  Fidelio. ' ' 

In  this  work  Beethoven  practically  sketches  in  music  the  plot 
of  his  entire  opera.  Beginning  with  a  fortissimo  chord,  which  sub- 
sides immediately  into  a  diminuendo  descending  passage,  our  first 
subject  gives  us  the  opening  theme  of  Florestan's  aria.  The  second 
subject  is  of  a  more  tender  character.  Both  are  subjected  to  a  re- 
markable development  (Free  Fantasia),  which  is  interrupted  by  the 
distant  call  of  the  trumpet,  which,  in  the  opera,  is  the  signal  of  the 
arrival  of  the  Governor.  Here  it  marks  the  recapitulation  of  the 
subjects;  the  work  ending  in  a  coda,  which  proclaims  the  joy  of  the 
prisoners,  who  are  now  set  free.  [Lesson  XIII,  Course  II;  Lesson 
XXVII,  Course  III;  Lesson  VII,  Course  IV.] 

64165     Aria — Fateful  Moment     ("  Fidelio  ")  Beethoven 

Beethoven's  one  opera,  "Fidelio,"  is  based  on  an  old  Spanish 
tale.  Florestan,  a  nobleman,  is  falsely  imprisoned  by  Don  Pizarro, 
who  hopes  by  his  death  to  obtain  his  property.  Leonore,  the  faith- 
ful wife  of  Florestan,  disguises  herself  as  a  lad  and,  under  the  name 
of  Fidelio,  obtains  service  in  the  prison.  By  her  devotion  she  saves 
the  life  of  Florestan,  and  the  Governor  pardons  him,  while  Don 
Pizarro  is  condemned.  This  great  aria  occurs  in  the  first  act.  Don 
Pizarro  hears  that  the  Governor  is  to  make  his  inspection  of  the 
prison,  and  determines  that  Florestan  must  die. 


Analyses 


Governor : 

Fateful  moment!      My  revenge  is  near! 

Long  I  've  waited  for  this  hour. 

Fearful  lest  he  should  escape  me! 

Over  my  enemy  I  triumph ; 

He  who  would  my  life  have  taken! 

Oh,  fateful  moment ! 

Ah,  what  a  day  is  this! 

My  vengeance  shall  be  sated, 

And  thou,  thy  doom  is  fated. 

Once  in  the  dust  I  trembled 

Beneath  thy  conquering  steel, 

But  fortune 's  wheel  is  turning, 

In  torments  thou  art  burning, 

The  victim  of  my  hate ! 

[Lesson  VII,  Course  IV.] 

35246     Chorus  of  Prisoners     ("Fidelio")  Beethoven 

Beethoven's  one  opera  "Fidelio,"  although  it  foreshadowed  the 
development  of  the  modern  music  drama,  was  never  a  success  during 
Beethoven's  life.  The  male  chorus  of  the  prisoners  occurs  at  the  end 
of  the  first  act.  The  scene  shows  us  the  courtyard  of  the  prison,  where 
Florestan  has  been  unjustly  confined.  As  the  prisoners  come  out 
into  the  sunshine,  they  sing  this  beautiful  chorus.  [Lesson  XIII, 
Course  II;  Lesson  VII,  Course  IV.] 
62101     Mira  o  Norma     (Hear  Me,  Norma)      (From  "  Norma ")  Bellini 

This  ever  popular  duet,  from  the  first  act,*  still  holds  the  concert 

stage  as  a  rare  example  of  true  bel  canto. 

Adalgisa  : 

Dearest  Norma,  before  thee  kneeling, 
View  these  darlings,  thy  precious  treasures; 
Let  that  sunbeam,  a  mother's  feeling, 
Break  the  night  around  thy  soul. 

Norma : 

Wouldst  win  that  soul,  by  his  entreating 
Back  to  earth's  delusive  pleasures, 
From  the  phantoms,  far  more  fleeting, 
Which  in  death's  deep  ocean  shoal? 

[Lesson  XI,  Course  IV.] 

17174     Hear  Me,  Norma     (Clarinet  and  Oboe)  Bellini 

This  is  a  good  opportunity  to  study  the  tone  quality  of  the 
clarinet  and  oboe  as  they  sing  for  us  this  famous  duet  from  "Norma." 
[Lesson  XV,  Course  III ;  Lesson  XVI,  Course  III.] 

*  Bellini's  most  dramatic  opera  is  founded  on  an  old  French  tale  of  the  Gauls  and  Druids  laid 
in  50  B.  C. 

Norma,  a  high  priestess  of  the  temple  of  the  Druids,  has  broken  her  vows  and  secretly  married 
Pollione,  the  Roman  commander,  and  has  two  children.  Pollione  proves  faithless  in  falling  des- 
perately in  love  with  Adalgisa,  a  temple  virgin.  Norma  discovering  it,  offers  to  sacrifice  herself 
and  give  her  children  to  Adalgisa,  who  proves  her  loyalty  to  her  priestess  by  refusing  to  accept. 

To  save  Pollione's  life,  Norma  afterward  confesses  her  own  sin,  and  both  perish  in  the  sacrifi- 
cial flame. 

242 


Analyses 

62642     Ah!  fosco  ciel!  (When  Daylight's  Going)  Bellini 

This  interesting  chorus  occurs  at  the  end  of  the  first  act  of 
Bellini's  pastoral  opera  "La  Sonnambula."  A  stranger,  who  has  come 
to  the  village,  is  told  of  the  vision  of  a  specter,  which  has  appeared 
each  night  in  the  village.  He  laughs  at  this  tale,  but  the  villagers  in 
this  descriptive  chorus  tell  him  of  the  ghostly  visitor. 

Chorus  : 

When   dusky   nightfall   doth    shroud   the   sunbeam, 

And   half   repulses   the   timid   moonbeam, 

When  thunder  boometh ;    where  distance  loometh  ; 

Floating  on  mist,  a  shade  appears: 

In  filmy  mantle  of  pallid  whiteness. 

The  eye   once  gentle  now  glaring  brightness, 

Like  cloud  o'er  Heaven  by  tempest  driven, 

Plainly   contest   the   phantom   wears! 

Rudolph  : 

You  are  all  dreaming:   'tis  some  creation 
Uf  mere  gossips,  to  frighten  youth. 

Chorus : 

Ah,  no  such  folly  in  our  relation: 

We  all  have  seen  it,  in  very  truth, 

And  wheresoever   its  pathway  falleth 

A  hideous  silence  all   things  appalleth; 

No  leaflet  trembles,   no  zephyr   rambles, 

As  'twere  a  frost  the  brook  congeals. 

The  fiercest  watchdog  can  nought  but  cower, 

A  mute  true  witness  of  its  fell  power. 

The   screech-owl   shrieking,   her   haunt   seeking, 

Far  from  the  ghost  her  dark  wings  wheels. 

Rudolph  : 

'Tis  fright  for  youth.     I  will'  discover 
What  hidden   mystery  your   tale   conceals. 

[Lesson  XI,  Course  IV.] 

35241     Overture,  "Le  Carnaval  Romain  "  Berlioz 

This  composition  was  written  by  Berlioz  to  serve  as  the  overture 
to  the  second  act  of  his  opera  "Benvenuto  Cellini,"  which  was  pro- 
duced in  1838.  It  is,  therefore,  to  be  seen  that  Berlioz  preceded  Wag- 
ner in  the  use  of  overtures  before  the  various  acts  of  the  opera.  Berlioz, 
in  his  memoirs,  tells  us  that  on  the  night  of  the  presentation  of 
"Benvenuto  Cellini"  this  overture  was  received  with  "exaggerated 
applause,"  while  the  opera  itself  was  "a  brilliant  failure,"  being 
"hissed  with  remarkable  energy."  The  theme  of  the  "Carnaval 
Romain"  is  a  Saltarello,  which  is  today  still  sung  and  danced  in 
Rome.  This  theme  opens  the  overture,  and  is  followed  by  a  slow 
melody  of  a  romantic  nature ;  then  suddenly  the  Salterello  theme  is 

243 


Analyses 

taken  up  again  by  the  full  orchestra;  the  development  is  particularly 
taken  up  with  this  theme,  although  the  second  subject  is  brought  back 
once  more  to  serve  as  contrast  to  the  brilliant  vigor  of  the  dance 
subject.     [Lesson  XVI,  Course  II;  Lesson  XXVIII,  Course  III.] 

31424     March  Rakoczy     ("  Damnation  of  Faust ")  Berlioz 

The  "March  Rakoczy"  is  the  national  air  of  Hungary  and  was 
originally  written  by  Michael  Barna,  a  gypsy  court  musician  of 
Prince  Franz  Rakoczy,  from  which  this  composition  takes  its  name. 

The  Rakoczy  family  were  the  leaders  of  the  Hungarian  inde- 
pendent movement  for  many  generations,  the  most  famous  member 
of  the  family  being  Franz  II  (1676-1735),  who  led  the  Hungarian 
Revolution,  in  1703.  It  is  said  that  when  the  Prince  with  his  young 
wife,  Princess  Amalia  Catherine  of  Hesse,  made  his  state  entry  into 
Eperjes,  this  march  was  played  by  the  court  orchestra  under 
the  direction  of  the  composer,  Barna.  In  1711,  when  Franz  led  the 
revolt  against  Emperor  Leopold  I,  Barna  revised  the  original  melody 
into  a  warlike  march,  which  has  since  remained  the  battle  hymn  of 
the  Hungarians,  being  equally  popular  among  the  music-loving  gypsies 
as  with  the  Hungarian  noblemen.  The  manuscript  of  the  march  was 
kept  in  the  Barna  family,  although  the  theme  was  used  and  adapted 
by  many  Hungarian  musicians.  Much  of  the  popularity  of  the 
march  was  due  to  the  personal  beauty  and  musical  genius  of  a 
young  gypsy  girl  violiniste,  Pauna  Cznika,  the  granddaughter  of 
Barna,  who  played  her  grandfather's  composition  at  all  her  concerts. 
After  her  death,  the  manuscript  came  into  the  hands  of  another 
Hungarian  gypsy  violinist,  Ruzsitka,  who  rewrote  the  march,  giving 
it  much  of  the  length  and  character  it  now  possesses. 

Berlioz,  the  great  French  composer,  to  whom  we  owe  the  present 
arrangement,  borrowed  his  version  from  that  of  Ruzsitka.  The 
idea  of  using  this  march  came  to  Berlioz  while  he  was  in  Buda  Pesth, 
arranging  for  a  performance  of  his  "Damnation  of  Faust."  Realizing 
the  great  patriotism  of  the  Hungarian  people,  Berlioz  changed  his 
libretto  to  suit  the  situation,  and  took  his  much  travelled  Faust  to 
Hungary,  that  he  might  witness  the  departure  of  the  Hungarian 
troops  for  the  war,  and  an  opportunity  was  thus  given  for  the  Rakoczy 
March  to  be  played.  The  success  of  this  plan  was  overpowering — 
Berlioz  tells  us  that  the  enthusiasm  at  the  first  performance  in  Pesth 
was  so  extraordinary,  that  it  quite  frightened  him.  [Lesson  I,  Course 
I ;  Lesson  XXI,  Course  I.] 

244 


Analyses 

88085     Habanera     ("Carmen")  Bizet 

The  "Habanera"  for  mezzo-soprano  is  taken  from  Bizet's  opera 
"Carmen,"  where  it  is  sung  by  the  Spanish  cigarette-maker  as  she  is 
trying  to  persuade  the  unfortunate  Don  Jose  to  fly  with  her.  This 
aria  is  not  only  a  beautiful  composition  for  the  singer,  but  it  is  an 
excellent  example  of  national  expression,  as  Bizet  here  uses  a  Spanish 
gypsy  dance  tune  as  the  basis  of  his  musical  composition. 

HABANERA. 

Ah!  love,  thou  art  a  willful  wild  bird, 

And  none  may  hope  thy  wings  to  tame, 

If  it  please  thee  to  be  a  rebel, 

Say,  who  can  try  and  thee  reclaim? 

Threats  and  prayers  alike  unheeding; 

Oft  ardent  homage  thou 'It  refuse, 

Whilst  he  who  dost  so  coldly  slight  thee, 

Thou  for  thy  master  oft  thou 'It  choose. 

Ah,  love! 

For  love  he  is  the  lord  of  all, 

And  ne'er  law's  icy  fetters  will  he  wear, 

If  thou  me  lovest  not,  I  love  thee, 

And  if  I  love  thee,  now  beware! 

If  thou  me  lovest  not,  beware ! 

But  if  I  love  you,  if  I  love  you,  beware!  beware! 

[Lesson  IV,  Course  I;  Lesson  XXVI,  Course  IV.] 

88178     Toreador  Song     ("Carmen")  Bizet 

This  ever  popular  aria  for  baritone  is  sung  by  the   Toreador 

Escamillo    in    the    second    act    of    Bizet's    "Carmen."      The    scene 

shows  us  the  inn  of  Lillas  Pastia,  where  Carmen  and  her  gypsy  friends 

are  singing  and  dancing.     All  hail  with  joy  .the  arrival  of  Escamillo, 

and  he  tells  them  of  the  dangerous  joys  of  the  bull  fight  in  this 

remarkable  descriptive  aria : 

You  ask  for  a  toast,  well  I  make  it. 

To  you,  Senors,  to  you  all,  all  soldiers  brave, 

For  you  like  to  us  Toreadors  do  fight. 

Ah !  the  circus  is  full  from  the  ground  to  the  top, 

The  fair  ones  are  there  all  eager  with  pleasure. 

Hear  the  shouts  around  the  arena  resound, 

Some  are  applauding,  some  wildly  calling, 

All  are  delighted  to  see  the  brave. 

Advance,  Toreador,  make  ready, 

Give  but  one  glance  to  the  tender  eyes 

Of  she  who  waits  and  watches, 

In  love  for  thee. 

Toreador!     For  thee  her  love  awaits! 

Then  there  comes  the  silence, 

The  moment  draws  nigh, 

When  the  bull  shall  appear. 

In  anger  and  rage  he  bounds  into  the  ring. 

All  are  watching  hs  he  charges. 

245 


Anal  y'j  e  s 

A  horse  he  flays,  a  fallen  Picador ! 

On,  on,  with  the  fight! 

He  charges  once  more. 

See  them  hurry — see  them  leap  the  barriers. 

But  one  alone  now  takes  his  stand. 

Make  ready,  Toreador,  advance ! 

Give  but  one  glance  to  the  tender  eyes 

Of  she,  who  waits  and  watches 

In  love  for  thee, 

Toreador!     For  thee  her  love  awaits! 

[Lesson  V,  Course  I ;  Lesson  XIX,  Course  II; 
Lesson  XXVI,  Course  IV.] 
74210     Son  lo  Spirito     ("Mefistofele")  Boi'to 

The  opera  ' '  Mefistofele "  is  the  one  composition  of  Boito's  which 
has  been  recognized  as  a  master  work.  This  Italian  version  of  Goethe's 
"Faust"  is  remarkable  in  its  power  of  characterization.  A  very  excel- 
lent example  of  this  is  found  in  the  aria  for  Mephistopheles  in  the  first 
act,  when  the  evil  spirit  discloses  his  true  identity  to  Faust : 

MEFISTOFELES  : 

I'm   the  spirit  that  denieth  all  things,  always: 
Stars  or  flowers — that  by   sneers  and  strife   supplieth 
Cause  to  vex  the  Heavenly  powers. 
I'm   for   Naught  and   for   Creation, 
Ruin  universal,  death ! 
And  my  very  life  and  breath, 

Is  what  here  they  call  transgression,  sin  and  Death! 
Shouting  and  laughing  out  this   word   I   throw; 
"No!"     Sland'ring,  wasting,  howling,  hissing. 
On  1  go,  whistling!    whistling!      Eh! 
Part  am  I  of  that  condition, 
Of  the  whole  obscurity, 
Child  of  darkness  and  ambition, 
Shadows  hiding,  wait  for  me. 
If  the  light  usurps,  contending, 
On  my  rebel  scepter's  right. 
Not  prolong'd  will  be  the  fight, 
Over  sun  and  earth  is  pending, 
Endless  night ! 
Shouting  and  laughing,  etc. 

[Lesson  XXII,  Course  IV.] 

7067     Folletto,  folletto     (Sprites  of  Hades)     ("Mefistofele")  Boi'to 

This  interesting  duet  is  sung  by  Mephistopheles  and  Faust  in 
the  second  act  of  Boito's  setting  of  the  Faust  legend.  Mephistopheles 
is  leading  Faust  to  the  summit  of  the  Brocken,  where  the  witches' 
revel  is  held.  Notice  the  use  of  the  piccolo-flute  in  the  instrumentation. 

Mefistofele: 

Come  up  higher,  and  higher,  and  higher, 
Farther  yet,   'tis  more  dreary  the  road 
That  will  lead  us  to  Satan 's  abode, 
Dark  the  sky  is,  the  ascent  grows  steeper, 
Come  up  higher,  and  higher,  and  higher! 

246 


Analyses 

Faust : 

Ah!  Wild-fire,  pallid  light, 
Now  so  dim,  now  so  bright, 
Flash  o  'er  us  thy  ray 
To  illumine  our  way, 
Come  nigher,  come  nigher, 
For  dark  is  the  ascent, 
As  higher  and  higher 
We're  upward  advancing, 
<  lome  flame,  wildly  dancing, 
Come  nigher  and  nigher! 

[Lesson  XXII,  Course  IV.] 

17181     Lullaby  Brahms 

In  this  charming  lullaby,  Brahms  has  caught  the  simple  grace  of 
the  folk  song.  When  one  remembers  the  greatness  of  Brahms'  con- 
trapuntal skill  one  feels  that  Gluck  spoke  the  truth  when  he  said, 
"Simplicity  and  truth  are  the  sole  principles  of  the  beautiful  in  art." 
[Lesson  XX,  Course  II.] 

87099     In  the  Churchyard  Brahms 

More  than  any  other  modern  composer,  Brahms  was  influenced 
in  the  writing  of  his  songs  by  the  old  folk  songs  of  Germany,  for  he 
retains  a  simple  directness  in  his  song  writing,  which  is  not  so  observ- 
able in  his  larger  works.  Brahms  left  over  two  hundred  songs,  and 
many  of  these  rank  with  the  best  contributions  to  song  literature.  The 
deep  humanity  of  Brahms  is  found  in  the  setting  of  this  simple  poem 
of  Detler  von  Liliencron : 

The  day  pass  'd  dark  with  rain  and  silently, 

To  many  long- forgotten  graves, 
I  wandered,  stormbeaten,  stone  and  cross,  the  garlands  old, 

The  names  wash  'd  out  and  blurr  'd,  scarce  to  decipher. 

The  day  pass'd  stormily,  in  heavy  rain, 

On  all  the  graves  the  frozen  word:     Deplored. 
Like  tempests  dead,  the  dead  too  slumbered, 

On  ev  'ry  grave  it  melted  soft :     Kestored. 

[Lesson  XX,  Course  II.] 

64131     Hungarian  Dance  Brahms 

Brahms  became  interested  in  Hungarian  music  through  his 
friendship  for  Eduard  Remenyi,  the  great  violinist — and  to  him  he 
dedicated  his  Hungarian  Dances,  written  originally  for  the  violin. 
Brahms  does  not  give  us  a  clue  as  to  whether  the  dances  are  original 
or  taken  from  the  real  Hungarian  melodies.  It  is  certain  they  possess 
all  the  national  characteristics   of  the   Czardas,  the  alternating  use 

247 


Analyses 

of  the  Lassan  and  Friska  being  excellently  employed.     [Lesson  XXI, 
Course  I;  Lesson  XX,  Course  II.] 

60079     From  the  Land  of  the  Sky  Blue  Water  Cadman 

64200     The  Moon  Drops  Low  Cadman 

One  of  the  most  talented  young  American  composers,  who  is 
employing  the  melodies  of  the  American  Indians  in  his  works,  is 
Charles  Wakefield  Cadman. 

Mr.  Cadman  has  written  a  charming  collection  of  Indian  songs, 
of  which  these  songs  are  the  best  known ;  both  these  songs  are  devel- 
oped from  Omaha  tribal  melodies,  which  were  discovered  by  Miss 
Alice  Fletcher.     [Lesson  XXX,  Course  I.] 

70040     Flatterer  Chaminade 

Cecile  Chaminade  is  one  of  the  most  interesting  personalities 
of  the  modern  musical  world.  She  was  born  in  Paris,  in  1861,  and 
has  always  lived  in  the  French  capital.  She  is  known  not  only  as 
a  virtuoso  pianist,  but  also  as  an  excellent  composer.  Her  best  com- 
positions are  her  songs  and  short  piano  compositions,  which  are  all 
in  the  style  of  the  Romantic  School.  This  selection  is  an  excellent 
example  of  the  charming  grace  of  the  French  poet-musician.  [Les- 
son XXVII,  Course  II.] 

74252     Depuis  le  jour     ("Louise")  Charpentier 

Charpentier  in  his  opera  "Louise"  paints  for  us  in  tone  a  per- 
fect picture  of  the  Bohemian  life  in  Paris.  This  great  aria  occurs 
in  the  third  act.  The  curtain  discloses  the  garden  of  the  small  house 
on  Montmartre  where  Julien  has  taken  Louise.  To  his  question  if 
she  is  truly  happy,  she  replies  in  this  song. 

[Lesson  XXVIII,  Course  IV.] 
35157     Funeral  March  Chopin 

This  ever  popular  composition  is  in  reality  the  second  movement 
of  Chopin's  great  B-minor  Sonata  for  piano.  This  work,  which  was 
written  by  the  Polish  pianist  while  in  Paris,  really  reflects  his  grief 
over  the  loss  of  Polish  independence.  The  march  follows  the  regula- 
tion form  of  march,  trio  march.  Notice  the  theme  of  the  trio,  which 
seems  to  breathe  a  spirit  of  consolation  in  sorrow.  [Lesson  XXII, 
Course  III.] 
74260     Prelude  Op.  28,  No.  24.     Etude  Op.  15,  No.  5  Chopin 

Although  Chopin  was  a  Romanticist  in  all  his  writings,  we  find 
few  works  of  the  Polish  poet  musician  which  bear  definite  titles  or 

248 


Analyses 

tell  specified  stories.  Yet  Chopin  invested  all  his  writings  with 
the  rare  poetry  of  his  nature  to  such  an  extent  that  even  in  his 
shortest  compositions  we  feel  the  deep  poetic  thought  which  he  so 
beautifully  portrays.     [Lesson  XVI,  Course  II.] 

64224     Mazurka  No.  2,  A  flat  Major  Chopin 

The  Mazurka  is  a  Polish  dance,  which  is  said  to  have  originated 
in  the  sixteenth  century.  It  was  always  sung  while  the  folk  danced, 
and  is  exclusively  a  dance  of  the  common  people,  whereas  the  Polonaise 
is  the  dance  of  the  nobility.  Although  the  name  Mazurka  means 
measure,  the  dance  is  remarkable  for  the  variety  and  liberty  of  its 
performance;  in  fact,  many  mazurkas  become  in  truth  improvisa- 
tions, for  the  invention  of  new  steps  and  figures  was  ever  permissible. 
The  music  is  3-4  or  3-8  time  and  consists  of  two  parts  of  eight 
measures,  each  repeated. 

Chopin  treated  the  Mazurka  in  a  new  and  original  manner, 
refining  it  of  all  vulgarity.  He  employed  Polish  folk  tunes,  but 
retained  little  more  than  the  character  of  the  old  folk  dance.  [Lesson 
XXIII,  Course  I;  Lesson  XVI,  Course  II.] 

64076     The  Minute  Waltz  Chopin 

This  charming  little  composition  is  a  perfect  example  of  the 
waltz  form,  consisting  of  the  waltz,  trio,  waltz.  It  was  originally 
written  for  piano,  but  makes  a  charming  little  piece  as  it  is  here 
played  by  the  violin.     [Lesson  I,  Course  I.] 

74246     Deep  River — Negro  Melody  Coleridge-Taylor 

Samuel  Coleridge-Taylor  (1875-1912)  is  one  of  the  most  interest- 
ing personalities  in  the  Modern  English  School  of  Music.  Although  his 
education  was  entirely  obtained  in  England,  the  father  of  Cole- 
ridge-Taylor was  an  African  negro,  a  native  of  Sierra  Leone.  The 
composer  was  ever  deeply  interested  in  the  music  of  his  race  and 
collected  many  negro  melodies,  both  in  Africa  and  America.  He 
says :  ' '  There  is  a  great  distinction  between  the  African  negro, 
and  the  American  negro  melodies.  The  African  would  seem  to  be 
more  martial  and  free  in  character,  whereas  the  American  is  more 
personal  and  tender,  though  notable  exceptions  can  be  found  on 
both  sides." 

"Deep  River"  is  a  plantation  song  known  as  a  "spiritual  song" 
by  the  Southern  American  negro.     These  "spirituals"  are  the  spon- 

249 


Analyses 

taneous  outbursts  of  the  religious  enthusiasm  of  the  camp  meetings. 
The  words  of  the  song  are: 

Deep  river.     Lord  I  want  to, 

To  cross  over  to  the  camp  ground. 

[Lesson  XXX,  Course  I.} 

74306     Onaway,  Awake,  Beloved  Coleridge-Taylor 

One  of  the  most  beautiful  modern  choral  compositions  is  the 
setting  of  Longfellow's  "Hiawatha's  Wedding  Feast,"  which  was 
the  work  of  the  talented  English  negro,  Samuel  Coleridge-Taylor. 

This  selection  for  tenor  is  a  setting  of  the  words  sung  by  "the 

gentle  Chibiabos,  he  the  sweetest  of  musicians."     The  custom  of  the 

Indian  wedding  feasts  is  most  wonderfully  portrayed  in  Longfellow's 

poem.     The  dancers  who  came  to  entertain  the  guests  had  retired, 

when  the  voice  of  Chibiabos: 

Sang  in  accents  sweet  and  tender, 
Sang  in  tones  of  deep  emotion, 
Songs  of  love  and  songs  of  longing, 
Looking  still  at  Hiawatha, 
Looking  at  fair  Laughing  Water, 
Sang  he  softly,  sang  in  this  wise : 
' '  Onaway,  Awake,  beloved !  ' ' 

[Lesson  XXV 111,  Course  II.] 
64261      Orientale     (Kaleidoscope)  Cui 

This  violin  selection  is  No.  9  in  a  suite  entitled  "Kaleidoscope," 
a  work  by  the  great  Russian  composer,  Cesar  Cui.  The  modern 
form  of  suite  is  usually  classed  with  program  music,  for  instead  of 
being  but  a  collection  of  dances,  as  was  the  form  during  the  classic 
period,  the  suite  of  today  is  given  a  general  descriptive  title,  while 
each  selection  has  its  own  title  and  all  seek  to  express  the  same  idea. 
All  the  selections  are  in  the  same  key.  This  suite  is  entitled  ' '  Kaleido- 
scope" and  each  number  is  of  a  different  form  and  coloring.  This 
"Orientale"  dance  is  a  very  good  example  of  the  rhythmic  and 
melodic  character  of  the  dances  of  the  Far  East.  Note  the  violin 
effects  which  are  here  used.     [Lesson  XXII,  Course  II.} 

16047     The  Wren  Damare 

This  short  composition  is  an  excellent  example  of  the  tone  quality 
of  the  piccolo,  or  octave  flute.  As  the  name  indicates,  this  is  a  short 
tone  picture  of  the  twittering  little  bird,  the  wren.  It  is  a  good  ex- 
ample of  imitative  music.     [Lesson  XIV,  Course  III.] 

2o0 


Analyses 

35285     Danny  Deever  Walter  Damrosch 

Walter  Damrosch  (1862)  is  well  known  throughout  America  as 
a  lecturer,  composer  and  conductor.  He  has  given  to  musical  litera- 
ture many  worthy  compositions,  including  the  two  operas  "The 
Scarlet  Letter,"  and  "Cyrano."  This  setting  of  Kipling's  famous 
poem,  "Danny  Deever,"  has  been  universally  popular.  [Lesson 
XXIX,  Course  II.} 

17083     Ace  of  Diamonds  Danish 

The  Danish  dances  are  very  similar  in  character  to  those  of 
Sweden,  as  both  Denmark  and  Sweden  have  been  more  influenced  by 
their  neighbors  than  has  Norway.     This  dance  is  of  the  reel  variety. 

[Lesson  XIV,  Course  I.] 

88318     Thou  Brilliant  Bird     ("The  Pearl  of  Brazil  ")  David 

Felicien  David  (1810-1876)  was  one  of  the  first  of  the  French 
Romantic  composers  to  introduce  Oriental  effects  into  music.  Shortly 
after  graduation  from  college,  David  entered  the  order  of  St.  Simoni- 
ans,  and  when  this  order  was  dissolved,  in  1833,  he  went  to  the  Orient 
with  a  number  of  the  brethren,  as  a  missionary.  Later  he  returned 
to  Paris  and  became  identified  with  music,  and  especially  the  French 
School  of  Opera.  "The  Pearl  of  Brazil"  was  produced  in  1851,  and 
is  a  story  of  similar  character  to  Meyerbeer's  "L'Africaine. "  It  is 
full  of  interesting  uses  of  Oriental  melodies  and  rhythmic  effects. 
This  aria  belongs  to  the  type  of  imitative  arias  which  are  so  dear  to 
the  heart  of  the  coloratura  soprano.     [Lesson  XI,  Course  I.} 

88281     Air  de  Lia     ("L'Enfant  Prodigue  ")  Debussy 

This  setting,  which  Debussy  has  given  us  of  the  parable  of  the 
Prodigal  Son,  is  a  very  short  work,  being  in  but  one  act.  As  the 
curtain  rises,  Lia  and  her  husband  are  heard  lamenting  the  loss  of 
their  son.  She  tells  her  husband  that  the  years  go  on  never  ending. 
and  that  although  spring  comes  with  its  bird  voices,  they  but  make 
her  heart  the  sadder,  as  her  soul  longs  for  the  son  she  has  lost.  "Ah. 
Azael,"  she  cries,  "why  did  you  ever  leave  me?"  She  says,  that  even 
in  her  sorrow,  she  can  remember  their  happy  days,  now  long  since 
vanished.  How,  in  the  evening,  when  they  returned  from  the  fields, 
they  sang  their  evening  prayer  to  God.  "Ah,"  she  sighs,  "how  blest 
are  the  parents  whose  children  remain  ever  near  them."  [Lesson 
XXX,  Course  III;  Lesson  XXVIII,  Course  IV.} 

251 


Analyses 

5865     En  Bateau  Debussy 

In  this  dainty  short  composition  for  pianoforte,  Debussy  has  given 
us  a  charming  impressionistic  tone  picture,  which  we  may  interpret 
to  fit  our  various  moods.  Although  having  a  title,  "In  the  Boat" 
does  not  necessarily  paint  for  us  any  definite  impression,  but  leaves 
much  to  our  poetic  fancy.     [Lesson  XXVII,  Course  II.] 

70011     The  Swallows  Dell'Acqua 

This  is  a  very  good  example  of  the  waltz  song.  Imitative  effects 
may  also  be  observed  in  this  selection.     [Lesson  II,  Course  I.] 

88299     Mad  Scene     (With  flute  obbligato)     ("  Lucia  di  Lammermoor  ") 

Donizetti 

No  single  operatic  number  has  ever  been  written  which  has  met 
with  the  great  popularity  of  the  Mad  Scene  from  "Lucia  di  Lam- 
mermoor. ' ' 

Although  we  today  are  apt  to  judge  this  aria  only  as  a  great 
opportunity  for  the  coloratura  soprano  to  show  her  technical  skill, 
the  scene  has  real  dramatic  value  when  heard  in  its  rightful  place 
in  the  third  act  of  the  opera — the  poor  demented  Lucy,  forgetting 
her  recent,  hated  marriage,  sings  here  of  her  love  for  Edgar  and  the 
dream  of  her  union  to  him. 

Lucy: 

I  hear  the  breathing  of  his  voice,  low  and  tender, 

That  voice  beloved  sounds  in  my  heart  forever. 

My  Edgar,  why  were  we  parted? 

Let  me  not  mourn  thee : 

See  for  thy  sake,  I've  all  forsaken! 

What  shudder  do  I  feel  thro'  my  veins'? 

My  heart  is  trembling,  my  senses  fail! 
(She  forgets  her  trouble  and  smiles.) 

Come  to  the  fountain: 

There  let  us  rest  together; 

Ah  me !  see  where  yon  specter  arises, 

Standing  between  us !     Alas !     Dear  Edgar ! 

See  yon  phantom  rise  to  part  us! 
(Her  mood  again  changes.) 

Yet  shall  we  meet,  dear  Edgar,  before  the  altar. 

Hark  to  those  strains  celestial! 

Ah!      'Tis  the  hymn  for  onr  nuptials! 

For  us  they  are  singing! 

The  altar  for  us  is  deck'd  thus, 

Oh!  joy  unbounded! 

'Eound  us  the  brilliant  tapers  brightly   are   shining, 

The  priest  awaits  us. 

Oh!  day  of  gladness! 

Thine  am  I  ever,  thou  mine  forever! 
(She  falls  fainting  into  the  arms  of  Raymond.) 

[Lesson  XVII,  Course  II;  Lesson  XI,  Course  IV.] 

252 


Analyses 

96200     Sextette     ("  Lucia  di  Lammermoor  ")  Donizetti 

"Lucia  di  Lammermoor,"  the  best  known  of  Donizetti's  works 
in  the  form  of  Opera  Seria,  is  a  musical  setting  of  Sir  Walter  Scott's 
novel,  "The  Bride  of  Lammermoor."  It  was  presented  in  Paris, 
in  1839.  The  greatest  concerted  number  in  the  opera  is  the  famous 
and  ever  popular  Sextette,  which  occurs  at  the  end  of  the  second  act. 
This  number  is  usually  designated  as  the  "Contract  Scene."  The 
young  Lucia,  forced  by  her  brother  to  sign  the  marriage  contract 
with  Sir  Arthur,  discovers  that  her  lover  Edgar  is  still  alive  and 
true  to  her.  Sir  Henry  and  Edgar,  both  overcome  with  anger,  sing 
a  short  duet  and  Lucia,  her  maid,  the  notary  Raymond  and  Sir 
Arthur,  join  with  them  in  this  great  sextette. 

Henry  and  Edgar: 

Instant  vengeance,  what  restraineth, 
What  thus  stays  my  sword  in  scabbard  ? 
Is't  affection  that  still  remaineth? 
And  each  angry  thought  enchaineth? 

(thou'rt) 
Of  my  own  blood  (I'm       )  betrayed, 

(my) 

And  despair  (her)  heart  doth  wither, 

Edgar : 

Yet,  ungrateful  one,  I  love  thee  still ! 

Henry : 

And  remorse  my  breast  doth  fill! 

Lucy  (despairingly)  : 

I  had  hop  'd  that  death  had  found  me, 
And  in  his  dreer  fetters  bound  me, 
But  he  comes  not  to  relieve  me! 
Ah!  of  life  will  none  bereave  me? 

Eaymond  and  Alice: 

Ah !  like  a  rose  that  withers  on  the  stem, 

She  now  is  hovering  'twixt  death  and  life! 

He  who  for  her  by  pity  is  not  mov'd, 

Has  of  a  tiger  in  his  breast  the  heart. 

Arthur  : 

Hence,  thou  traitor,  hence  betake  thee, 
Ere  our  rage  shall  o  'erwhelm  thee ! 

[Lesson  IX,  Course  I;  Lesson  XI,  Course  IV.} 

88188     Brindisi  (It  is  Better  to  Laugh)     (" Lucrezia  Borgia")  Donizetti 

This  aria  is  one  of  the  favorite  concert  numbers  of  Mme.  Schu- 
mann-Heink.     In  its  rightful  place,  it  belongs  in  the  banquet  scene 

253 


Analyses 

of  the  last  act  of  Donizetti's  "Lucrezia  Borgia,"  and  is  sung  by  Maffio 
Orsini,  a  young  Eoraan  nobleman. 

It  is  better  to  laugh  than  be  sighing, 

When  we  think  how  life's  moments  are  flying; 

For  each  sorrow  Fate  ever  is  bringing, 

There 's  pleasure  in  store  for  us  springing. 

Thro'  our  joys  like  to  waves  in  the  sunshine, 

Gleam  awhile,  then  are  lost  to  the  sight, 

Yet  for  each  sparkling  ray 

That  so  passes  away, 

Comes  another  as  brilliant  and  light. 

In  the  world  we  some  beings  discover, 

Far  too  frigid  for  friend  or  for  lover; 

Souls  unblest,  and  forever  repining, 

Tho '  good  fortune  around  them  be  shining, 

It  were  well  if  such  hearts  we  could  banish 

To  some  planet  far  distant  from  ours; 

They  're  the  dark  spots  we  trace 

On  this  earth's  favored  space; 

They  are  weeds  that  choke  up  the  fair  flow  'rs. 

Then    'tis  better  to  laugh  than  to  be  sighing; 
They  are  wise  who  resolve  to  be  gay; 
When  we  think  how  life's  moments  are  flying, 
Enjoy  Pleasure's  gifts  while  we  may! 

[Lesson  XI,  Course  IV.] 
60078     Als  die  alte  Mutter  Dvorak 

This  song  is  an  excellent  example  of  national  expression,  as 
Dvorak  has  here  used  with  great  skill  Bohemian  gypsy  melodies  in  the 
setting  of  this  simple  verse. 

As  my  dear,  old  mother 

Taught  her   children,  singing, 
Songs  that  from  her  eyelids 

Tears  so  oft  were  bringing; 
So,  when  for  my  children 

Those  old  songs  recalling, 
Often  flow  the  teardrops, 

On  my  brown  cheeks  falling. 

Copy't  1902,  by  Oliver  Ditson. 

[Lesson  XX,  Course  I ;  Lesson  XXIV,  Course  II.] 
74163     Humoresque  Dvorak 

This  charming  little  tone  poem  is  Opus  101,  of  Dvorak's  composi- 
tions, and  was  originally  written  for  pianoforte,  although  the  violin 
arrangement  has  been  equally  popular.  This  composition  belongs 
to  the  class  of  program  music  pieces  in  which  the  true  meaning  of 
the  composer's  title  is  left  largely  to  the  imagination  of  the  audience. 
[Lesson  XXIV,  Course  II ;  Lesson  IV,  Course  III.] 


Analyses 

35275     Largo     ("  The  New  World  Symphony  ")  Dvorak 

This  ever  popular  number  has  its  place  as  the  second  movement 
of  Dvorak's  Fifth  Symphony,  which  was  written  after  his  return 
from  America,  in  1895.  In  this  work,  which  he  called  "From  the 
New  World,"  Dvorak  used  many  musical  idioms,  which  had  im- 
pressed him  during  his  visit  to  America.  Being  especially  interested 
in  the  negro  melodies.  Dvorak  employs  them  throughout  the 
symphony.  In  this  Largo,  which  is  in  the  song  form,  Dvorak  has 
given  us  a  tone  picture  of  the  homesick  immigrant,  who  has  come 
to  "the  New  World"  in  search  of  fortune.  While  in  America,  Dvorak 
used  to  visit  each  summer  a  Bohemian  settlement  in  Iowa,  and  it  is 
thought  that  these  visits  to  his  countrymen,  settled  on  the  broad 
prairies,  far  from  their  native  land,  impressed  him  in  the  writing 
of  this  movement. 

In  its  original  orchestration,  the  theme  is  sung  by  the  English 
horn,  while  the  muted  strings  play  a  quiet  accompaniment.  The 
second  theme  is  of  a  more  agitated  character  and  is  played  by  the 
flutes  and  oboes;  after  which  the  first  is  repeated.  [Lesson  XXIV, 
Course  II;  Lesson  XV,  Course  III ;  Lesson  XXX,  Course  III.} 
35247     Pomp  and  Circumstance  Elgar 

This  stirring  march  is  one  of  the  most  popular  concert  numbers 
written  by  Sir  Edward  Elgar,  of  the  Modern  English  School.  It 
was  composed  for  the  Coronation  of  King  Edward  VII  and  played 
during  all  the  incident  festivities.  Soon  after  his  accession  to  the 
throne,  King  Edward  bestowed  the  title  of  Knight  on  the  English 
musician. 

This  is  an  excellent  example  of  march  form  and  the  brass  effects 
should  especially  be  noted.     [Lesson  XXVIII,  Course  II.] 
74077     Drink  To  Me  Only  With  Thine  Eyes  Old  English 

This  charming  old  English  love  song  has  ever  been  a  popular 
favorite.  The  exquisite  beauty  of  this  musical  setting  of  Ben  Jon- 
son's  toast  caused  some  authorities  to  claim  that  Mozart  wrote  this 
melody,  but  this  fact  has  been  absolutely  disproved,  and  the  authorship 
still  remains  anonymous.  [Lesson  XXIX,  Course  I.] 
17087     May  Pole  Dance  English 

No  custom  in  England  is  more  charming  than  the  annual  May 
Pole  Dance,  which  is  held  to  celebrate  the  birth  of  spring.  The  fete 
occurs  on  the  village  green  and  begins  with  the  weaving  of  garlands 
from  the  flowers  in  the  May  baskets,  then  comes  the  crowning  of  the 

255 


Analyses 

Queen  of  the  May.  After  this  ceremony,  the  May  Pole,  with  its 
many  colored  ribbons,  is  set  up,  and  the  dancers  weave  these  ribbons 
to  and  fro,  taking  a  joyous  skipping  step  as  they  sing.  This  time  is 
called  "Bluff  King  Hal"  and  is  a  well-known  old  English  air,  which 
doubtless  originated  at  the  time  of  the  "Bluff  King,"  who  is  known 
in  history  as  Henry  VIII.  [Lesson  XXIX,  Course  I.] 
17086     Morris  Dance  English 

It  is  said  that  the  popular  English  Morris  Dance  was  originally 
taken  from  the  Moors,  who  introduced  it  into  Spain,  from  whence  it 
was  introduced  in  England  by  Edward  III,  when  John  of  Gaunt  re- 
turned from  Spain.  The  dance  became  very  popular  during  the 
reign  of  Henry  VIII.  In  its  original  form,  it  was  danced  by  five 
men  and  a  boy  dressed  as  "Maid  Marian."  Later,  when  associated 
with  the  May  Day  festivities,  characters  of  Robin  Hood  and  his  fol- 
lowers were  introduced.  This  dance  was  suppressed  by  the  Puritans, 
but  a  popular  country  dance  of  New  England,  called  the  Morris 
Dance,  shows  that  some  of  the  main  characteristics  of  the  dance  have 
been  retained.  The  Morris  Dance  has  recently  become  very  popular 
again  in  both  England  and  America.  [Lesson  XXIX,  Course  I.] 
35279     "Sumer  is  icumen  in"  Old  English 

This  wonderful  six-part  canon,  the  manuscript  of  which  is  one 
of  the  chief  treasures  of  the  British  Museum,  is  our  best  proof  that 
there  existed  a  contrapuntal  school  in  England  during  the  thirteenth 
century.  Literary  men  of  this  day  speak  of  the  use  of  the  round 
in  the  contrapuntal  form  of  the  canon  as  being  of  frequent  occur- 
rence in  England  at  this  time.  Authorities  differ  as  to  the  actual 
composer  of  this  song  of  spring,  but  it  is  beyond  question  the  best 
example  of  counterpoint  which  we  find  before  the  establishment  of 
the  Netherland  School.  The  words  are  in  the  old  English  of  the 
period  of  Chaucer. 

Sumer  is  icumen  in 

Lhoud  sing  cuccu. 

Groweth  seel  and  bloweth  mod 

And  springeth  the  wo<l  enu. 

Sing,  sing,  cuccu. 

Ewe  bleteth  after  lamb 

Lhouth  after  calve  cu, 

Bulluc  sterteth 

Rncke  verteth, 

Murie,  sing  cuccu. 

Sumer  is  icumen  in 

Lhoud  sing  cuccu. 

[Lesson  VI,  Course  II.] 

256 


Analyses 

85020     Les  Rameaux  Faure 

This  song  is  the  composition  of  Jean  Baptiste  Faure  (1830),  a 
well-known  singer  of  France,  who  must  not  be  confused  with  Gabriel 
Faure,  the  great  composer,  for  many  years  the  head  of  the  Paris 
Conservatoire. 

This  popular  song  reflects  the  custom  of  placing  on  the  altar  on 
the  Sunday  before  Easter,  the  palm  branches  in  commemoration  of 
Christ's  entry  into  Jerusalem.     [Lesson  XXVII,  Course  II.] 

89009     Duet— Ah,  Those  Tears     ("Martha")  Flotow 

This  charming  and  sprightly  duet  is  sung  by  Lady  Harriet  and 
her  maid,  Nancy,  in  the  first  act  of  Flotow 's  "Martha."  The  lady 
has  tired  of  the  life  at  the  Court,  and  her  faithful  Nancy  aids  her  in 
the  plan  that  they  shall  go  to  the  Fair  disguised  as  servant  maids. 

Nancy  : 

Dearest  mistress! 
Lady  H. : 

Ah,  these  tears,  they  ease  my  bosom. 
Nancy  : 

Tears,  and  why? 
Lady  H. : 

I  know  it  not. 
Nancy: 

Of   all   the  knights,   so   brave  and   charming 

Who  surround  our  gracious  queen, 

And  themselves  with  wit  are  arming, 

Some  one  has  so  lucky  been 

Your  cold,  haughty  heart  to  win. 

Is  there  aught  in  this  alarming? 
Lady  H. : 

Vain  belief,  how  can  rejoice  me, 

Such  insipid  idle  love, 

For  to  please  and  interest  me, 

Flattery  is  not  enough. 
Nancy : 

Riches  heap  on  you  their  treasures, 

Honor  high  is  offered  you. 
Lady  H. : 

In  the  midst  of  gold  and  pleasures, 

Weariness  alone  I  see. 
Both: 

This  is  really  most  distressing, 

Hers   (mine)  is  called  a  brilliant  lot. 

If  not  love  does  work  a  wonder, 

Fades  the  flower  and  blossoms  not. 

It  is  really  too  distressing, 

Hers   (mine)  is  called  a  brilliant  lot. 

All  in  vain  are  my  endeavors, 

All  these  pleasures  please  me  not. 

[Lesson  XVIII,  Course  IV.] 

257 


Analyses 

70052     Spinning  Wheel  Quartet     ("Martha")  Flotow 

This  favorite  quartet  occurs  in  the  second  act  of  Flotow 's 
"Martha."  It  is  sung  by  Martha  (Lady  Harriet),  Julia  (Nancy), 
Plunkett  and  Lionel.  Having  taken  employment  (as  a  joke)  with  the 
young  men  whom  they  met  at  the  Fair;  Lady  Harriet  and  her  maid 
Nancy  find  they  cannot  even  perform  the  simple  duties  of  the  house- 
hold. In  this  quartet,  Lionel  and  Plunkett  endeavor  to  show  the 
maidens  how  to  spin,  and  the  incident  as  depicted  in  the  music  is 
one  of  the  most  popular  numbers  from  the  opera.  The  imitative 
effect  in  the  accompaniment  should  be  noted.     [Lesson  IX,  Course  J.J 

74005 1'  Duet— Sol°  Profugo  from  "  Martha  "  Flotow 

This  beautiful  duet  occurs  in  the  fourth  scene  of  Flotow 's 
"Martha."  The  action  of  this  work  takes  place  in  Richmond,  Eng- 
land, at  the  time  of  Queen  Anne.  The  scene  shows  us  a  country 
fair.  Thither  have  come  Plunkett,  a  farmer,  and  his  foster-brother, 
Lionel.  Lionel  tells  the  story  of  his  unknown  parentage  in  this  duet, 
in  which  he  is  joined  by  Plunkett : 

Lionel  : 

Lost,  proscribed,  a  friendless  pilgrim, 

Sinking  at  your  cottage  door, 

'Neath  your  friendly  roof  sought  shelter. 

In  his  arms  his  son  he  bore. 

This  poor  pilgrim  was  my  father, 

Who  to  you,  did  me  confide, 

With  his  dying  breath  imploring 

That  his  child  through  life  you  'd  guide. 

Plunket  : 

We  have  never  learn 'd  his  station, 
Never  learn 'd  your  father's  rank, 
All  he  left  to  tell  the  secret 
Is  the  jewel  on  your  hand. 
If  your  fate  should  ever  darken, 
Quoth  he,  show  it  to  the  Queen. 
She  will  save  you,  she  will  guard  you, 
When  no  other  help  is  seen. 

Lionel: 

Here,  in  peace  and  sweet  contentment, 
Have  I  passed  my  life  with  you, 
Stronger  daily  grew  a  friendship 
That  forever  lasts  when  true. 

Together : 

Brother,  think  not  wealth  and  splendor, 
If  perchance  they  e'er  be  mine, 
Tan  as  happy  this  heart  render 
As  the  friendship  fix  'd  in  thine. 

[Lesson  VII,  Course  I.] 

258 


Analyses 

16389     Old  Folks  at  Home     (2)  My  Old  Kentucky  Home         Stephen  Foster 

The  composer  of  these  two  songs  was  a  "Northerner,"  being 
born  in  Pittsburgh,  July  4,  1826,  and  dying  in  New  York,  January  13, 
1864.  Yet,  no  American  composer  ever  touched  the  sympathetic 
chord  of  the  sadness  of  the  negro  slaves  as  did  Foster  in  these  twro 
songs.  They  retain  all  the  characteristics  of  the  American  negro 
music,  and  are  in  truth  fitted  to  rank  with  the  best  legendary  folk- 
songs of  any  land.  Foster  wrote  both  the  words  and  the  music  of  his 
songs.     [Lesson  XXX,  Course  I.] 

16474     Amaryllis  Old  French 

This  charming  old  French  dance  follows  the  general  outlines  of 
the  regular  three-part  dance  form ;  one  can  also  trace  its  resemblance 
to  the  rondo.  It  may  be  used  as  an  example  of  both.  King  Louis 
XIII  wrote  a  charming  song  called  "Amaryllis,"  with  which  this  air 
is  frequently  confused.  In  truth,  this  melody  is  much  earlier  than 
the  song,  as  this  composition  was  played  for  the  first  time  at  the 
wedding  of  Margaret  of  Lorraine  and  the  Due  de  Joyeuse,  in  1581. 
The  melody  is  ascribed  to  Baltazarini,  the  favorite  composer  of 
Henri  III,  and  was  originally  called  "La  Clochette."  [Lesson  XVIII, 
Course  I ;  Lesson  XXV,  Course  III.] 

64202     Aubade  Provencale  Old  French 

This  charming  old  French  composition  gives  us  an  example  of 
pure  song  form.  The  custom  of  playing  a  morning  hymn  in  place  of 
the  evening  song,  or  serenade,  was  a  very  popular  one  in  southern 
France,  the  Troubadours  frequently  going  at  dawn  to  the  windows 
of  their  fair  ladies  and  singing  a  morning  song  of  love.  It  later 
became  a  very  popular  instrumental  form.  This  selection  is  an 
arrangement  of  an  old  air,  by  Louis  Couperin  (1630-1665).  [Lesson 
XVIII,  Course  L] 

64223     Bergere  Legere  Old  French 

This  charming  old  pastorale  belongs  to  the  class  of  old  French 
songs  which  were  known  as  "  Bergerettes. "  From  the  kings  down 
to  the  common  people,  we  find,  that  during  the  sixteenth,  seventeenth 
and  eighteenth  centuries  in  France,  there  was  a  love  for  the  simple 
pastoral  joys  of  country  life,  which  found  its  expression  in  literature, 
art  and  music. 

259 


Analyses 

This  little  roundelay  is  an  excellent  example  of  the  "Bergerette" : 

Fickle  shepherdess,  I   fear  your  charms, 

Your  beloved  one  is  inflamed  with  love, 

But  you  do  not  care; 

Your  whimsical  face 

Attracts  and  charms, 

But  frivolous  and  haughty, 

You  flee  from  he  who  follows  you, 

Fickle  shepherdess,  I  fear  your  charms. 

[Lesson  XV III,  Course  I.] 

71023     Filiae  Jerusalem  Gabrieli 

This  beautiful  setting  of  the  "Daughters  of  Jerusalem,"  is  by 
Andrea  Gabrieli  (1510-1586),  who  was  a  member  of  the  Venetian 
School,  founded  by  Adrian  Willaert.  Andrea  Gabrieli  was  the  most 
noted  organist  of  his  time  and  had  many  distinguished  pupils, 
among  them  many  of  the  North  German  organists.  He  wrote  much 
music  for  the  Church  and  one  recognizes  the  gain  in  freedom  of 
expression,  which  is  due  to  the  increased  knowledge  of  the  instru- 
ments and  instrumental  possibilities.  Giovanni  Gabrieli,  the  nephew 
and  pupil  of  Andrea,  was  the  first  to  divide  the  instruments  into 
two  divisions,  and  his  experiments  in  tone  color  led  to  the  later 
orchestral  accomplishments  of  the  Venetian  School  of  Opera  at  the 
time  of  Monteverde.     [Lesson  VI,  Course  II.] 

64151     Rolling  Down  to  Rio  Edward  German 

Edward  German  (1862)  is  a  talented  English  composer  of  today 
who  has  contributed  to  all  forms  of  composition.  This  song,  a 
setting  of  Kipling's  verses,  has  been  very  popular.  [Lesson  XXVIII, 
Course  II.] 

63853     Two  Children's  Songs  Old  German 

These  two  old  German  Christmas  songs  belong  to  the  Yuletide 
festivities  of  Christmas  Day,  wliich  is  always  royally  celebrated  by 
old  and  young  in  Germany.  Both  of  these  old  tunes  are  well-known 
to  every  school  child.  Notice  the  effect  of  the  Christmas  chimes  as 
illustrated  here  by  the  bells.  The  first  selection  is  sung  on  Christ- 
mas eve  and  is  a  prayer  to  the  Christ  Child  to  come  to  all  the  little 
children.  The  second  chorus  is  the  ever  familiar  "  Tannenbaum, " 
which  is  sung  by  the  children  as  they  dance  in  a  circle  about  the 
lighted  tree.  This  has  been  a  very  popular  air  in  America.  [Lessou 
XIX,  Course  I.] 

260 


Analyses 

63779     Two  Folk  Songs  German 

These  two  folk  songs  are  sung  by  the  Nebe  Quartet,  of  Germany. 
They  give  an  excellent  opportunity  for  the  comparison  of  the  four 
men 's  voices.  They  also  show  in  very  good  contrast  a  simple  ballad  of 
"Schon  Rottraut"  (the  beautiful  Rottraut  asleep  in  the  valley  'neath 
the  summer  skies),  and  a  song  of  the  wanderer,  "Ewig  Liebe  Heimat, " 
who  ever  thinks  of  his  beloved  home.     [Lesson  VII,  Course  I.] 

74196     Liebesfreud  Old  German  Waltz 

This  charming  waltz  is  an  arrangement  made  by  Fritz  Kreisler 
of  an  old  German  waltz,  which  still  retains  its  folk  spirit.  In  form, 
the  composition  follows  that  of  the  regular  dance — consisting  of 
dance,  trio,  dance,  coda.     [Lesson  XIX,  Course  I.] 

88286     Fatal  Divinita     ("Alceste")  Gluck 

It  was  with  "Alceste"  that  Gluck  first  laid  down  his  principles 
as  to  what  the  music  drama  should  be.  This  scene  occurs  in  the 
temple,  whither  the  people  have  followed  Alceste,  who  now  before  the 
priests  offers  her  life  as  a  sacrifice  to  the  gods,  that  her  husband  Admetus 
may  be  spared.  The  priests  accept  her  devotion,  and  in  this  aria  Alceste 
offers  her  willing  sacrifice  to  the  gods.  [Lesson  X,  Course  II;  Lesson 
IV,   Course  IV.] 

64075    Melodie     (Op.  26)  Gluck 

This  charming  melody  is  taken  from  Gluck 's  opera  "Alceste." 
Here  all  the  classic  purity  of  Gluck 's  style  may  be  observed,  for  as 
an  example  of  the  beauty  of  tone  and  poetic  expression  of  the  Clas- 
sical school,  this  short  composition  is  unequaled.  [Lesson  X,  Course 
II.] 

88091     Che  faro  senza  Eurydice     ("Orfeo")  Gluck 

This  ever-popular  aria  from  Gluck 's  great  opera  occurs  in  the 
last  act  of  "Orfeo."  Orpheus,  after  journeying  to  the  underworld 
and  obtaining  his  bride,  leads  her  out  to  the  open  day.  Eurydice 
begs  him  to  look  upon  her,  and  forgetful  of  his  vow,  Orpheus  does 
so,  and  Eurydice  sinks  back  lifeless  in  his  arms.  He  pours  forth  his 
woe  and  desolation  in  this  famous  aria : 

The  Gates  of  Hell,  Act  IV: 

I  have  lost  my  Eurydice 

My  misfortune  is  without  hope. 

Cruel  fate !     I  shall  die  of  my  sorrow. 

Eurydice,  Eurydice,  answer  me! 


Analyses 

It  is  your  faithful  husband, 

Hear  my  voice,  which  calls  you, 

Silence  of  death!  vain  hope! 

What   suffering,  what   torment,  wrings  my  heart! 

[Lesson  IV,  Course  IV.] 
16950     Gavotte     ("  Paris  and  Helen")  Gluck 

"Paris  and  Helen"  belongs  to  the  year  1769,  and  was  written 
immediately  after  the  opera  of  "Alceste, "  in  which  Gluck  had  ad- 
vanced his  theories  as  to  the  true  function  of  the  music  drama.  In 
this  work  he  carries  matters  further  toward  that  style  which  he 
established  with  "Iphigenia  in  Tauris,"  in  1779. 

Although  Gluck  refused  to  write  ballets  according  to  the  Parisian 
idea,  he  here  introduces  a  charming  Gavotte.  This  dance  was  one 
of  the  most  popular  court  dances  of  the  period  and  rivaled  in  favor 
the  Minuet.  This  is  an  excellent  example  of  the  three-part  dance 
form.  [Lesson  X,  Course  II;  Lesson  X,  Course  III.] 
17184     Ballet  Music     ("  Iphigenia  in  Aulis  ")  Gluck 

Gluck 's  great  opera,  "Iphigenia  in  Aulis,"  was  written  in  1772. 
and  was  the  first  work  of  the  famous  composer  to  be  heard  in  Paris. 
When  the  work  was  produced,  the  ballet  master  was  insistent  that 
Gluck  should  introduce  some  of  the  popular  court  dances  of  the  day, 
but  this  the  composer  refused  to  do,  as  he  insisted  the  Greeks  did  not 
dance  in  that  manner.  "Well,"  answered  the  ballet  master,  "then 
so  much  the  worse  for  the  Greeks." 

This  ballet  music  was  a  compromise  and  was  danced  with  as 
nearly  a  classic  posture  as  it  was  possible  for  the  French  dancers  of 
Gluck 's  day  to  assume,     f Lesson  X,  Course  II.} 

31772     Bridal  Song— "The  Rustic  Wedding  "  Carl  Goldmark 

Goldmark  calls  his  composition  "The  Rustic  Wedding,"  a 
symphony,  although,  as  a  matter  of  fact,  it  comes  more  nearly  under 
the  definition  of  a  suite,  as  its  five  movements  are  each  short  descrip- 
tive pieces  relative  to  the  title,  and  none  follows  closely  the  outlines 
of  the  "sonata"  form.  The  first  movement  is  the  Wedding  March; 
this  is  followed  by  the  Bridal  Song;  Serenade;  In  the  Garden; 
Country  Dance.  This  movement  is  a  delightfully  melodious  short 
composition  in  the  regulation  aria  form.  Notice  the  use  of  the  oboe 
in  the  statement  of  the  second  subject.  One  critic  says  this  is,  "as 
if  one  of  the  bridesmaids  had  stepped  forward  to  offer  her  personal 
tribute."  The  use  of  the  march  theme  in  the  'cello  is  interesting  to 
observe.     [Lesson  X,  Course  I;  Lesson  XXV,  Course  II.} 

262 


Analyses 

31832     Overture  Sakuntala  Goldmark 

This  overture  really  established  the  fame  of  the  Austrian  com- 
poser, Carl  Goldmark,  for  since  its  performance  in  Vienna,  1865, 
it  has  been  one  of  the  most  famous  compositions  in  the  concert 
repertory  of  Europe  and  America.  Goldmark  here  uses  Mendelssohn 's 
form  of  the  concert  overture,  and  tells  the  story  of  Sakuntala,  the 
heroine  of  Kalidassa's  famous  Indian  drama.  Sakuntala,  the 
daughter  of  a  nymph,  is  brought  up  by  a  sacred  priest  as  his  daughter. 
While  the  King,  Dashianta,  is  hunting  in  the  woods,  he  sees  Sakuntala 
and  falls  deeply  in  love  with  her.  On  their  wedding  night,  he  pre- 
sents her  with  his  ring  and  tells  her  to  follow  him  to  his  capital 
city.  A  powerful  priest,  who  has  become  angered  at  Sakuntala, 
now  presents  the  King  with  a  drink  of  forgetfulness  so  that  all 
remembrance  of  the  maiden  passes  from  him.  She,  in  the  meantime, 
has  lost  the  ring  in  the  sacred  river,  so  that  when  she  presents 
herself  at  the  King's  court,  she  is  repudiated  and  mocked.  But  the 
ring  is  found  by  some  fisherman  in  his  fish,  and  is  taken  to  the  King, 
who  remembers  all  the  past  and  longs  for  the  beautiful  young  wife 
of  whom  he  can  find  no  trace  through  the  forest.  But  many  years 
later,  while  conducting  a  war  against  the  evil  demons,  the  King  finds 
Sakuntala  and  there  is  no  end  to  the  happiness  of  the  lovers  now 
reunited. 

Throughout  the  overture,  one  feels  the  subtle  charm  of  the 
Oriental  music,  which  is  always  clearly  felt  in  Goldmark 's  works. 
The  hunting  theme  descriptive  of  the  King,  and  the  Oriental 
love  theme  typical  of  Sakuntala,  can  be  easily  distinguished  as 
the  first  and  second  subjects  of  the  overture  proper.  [Lesson  XXV, 
Course  II.] 

64115     Aria— Magic  Tones     ("The  Queen  of  Sheba")  Goldmark 

Goldmark 's  setting  of  the  story  of  the  famous  visit  to  Solomon 
by  the  Queen  of  Sheba  was  written  many  years  later  than  Gounod's 
work  on  the  same  subject.  In  the  story,  as  used  by  Goldmark,  King 
Solomon,  hearing  that  the  Queen  is  planning  to  come  to  his  court, 
sends  his  favorite  courtier,  Assad,  to  meet  her.  Assad  becomes  so 
infatuated  with  the  Queen  that  he  forsakes  his  fiancee,  Sulamith,  and 
is  condemned  by  the  King  to  death  in  the  desert.  Thither  Sulamith 
follows  him,  and  they  die  together.  This  great  tenor  aria  is  sung  by 
Assad  in  the  Second  Act,  which  takes  place  in  the  gardens  of  the 

263 


Analyses 

palace.    The  Queen  has  sent  for  Assad  to  appear  before  her,  and  as 
he  conies  through  the  garden  he  sings: 

Times  of  enchantment! 

Perfume  laden  air,   breathe  on   me, 

Gentle  evening  breeze. 

[Lesson  XIX,  Course  IV.] 
87105     Aria — "  II  Guarany,"  Gomez 

A  composer  whose  work  is  only  just  beginning  to  receive  the  atten- 
tion due  its  worth,  is  Antonio  Carlos  Gomez,  1839-1896.  Born  in 
Brazil,  Gomez  attracted  the  attention  of  his  Emperor  and  was  sent 
to  Milan  to  develop  his  musical  talent. 

His  first  opera  was  produced  in  1861  and  was  shortly  after 
followed  by  "II  Guarany,"  the  only  one  of  Gomez'  works  which  has 
attracted  international  attention.  This  work  is  the  most  original 
and  striking  of  any  of  Gomez'  works  for  the  stage.  This  aria  occurs 
in  the  second  act;  it  is  an  excellent  example  of  the  brilliant  style  of 
the  composer.     [Lesson  XVII,  Course  I.] 

64198     Tambourine  Gossec 

Frangois  Gossec  (1734-1829)  belongs  to  the  same  period  and 
school  as  Gretry.  At  this  period,  in  Paris,  all  operas,  whether  in 
Grand  Opera  style  or  Opera  Comique,  introduced  many  dances  and 
ballets.  This  charming  little  dance  is  an  excellent  example  of  imita- 
tive music;  the  dance  taking  its  name  Tambourine,  from  the  instru- 
ment used  to  accompany  it.  This  was  a  favorite  dance  of  Provence, 
and  was  of  a  lively  character,  the  first  Tambourine  being  followed  by 
a  second  in  a  minor  key,  after  which  the  first  dance  was  repeated. 
[Lesson  I,  Course  II;  Lesson  IV,  Course  III.] 

95203     Trio— Prison  Scene     ("Faust")  Gounod 

To  Marguerite  in  her  prison  comes  Faust,  who  attempts  to  per- 
suade her  to  flee  with  him,  but  she  is  weak  in  both  body  and  mind,  and 
can  only  think  of  her  past  happiness.  In  the  midst  of  their  impassioned 
duet,  Mephistopheles  appears  and  calls  to  Faust  to  leave  her  to  her  doom. 
He  tells  Faust  that  the  horses  outside  will  bear  them  both  to  safety, 
if  he  will  but  hasten.  Then  Marguerite  recognizes  the  evil  presence; 
and  falling  on  her  knees  prays  that  Heaven  will  forgive  Faust  and  herself 
and  spare  them  from  the  curse  of  Satan.  The  great  trio  which  follows 
portrays  the  three  characters:  Faust,  who  desires  earthly  happiness; 
Marguerite  who  prays  for  Heavenly  rest ;  and  Mephistopheles,  who  desires 

264 


Analyses 

the  destruction  of  them  both.    The  love  and  trust  of  Marguerite  wins  for 
Faust  his  redemption. 

Mephistopheles,   fearing   the   coming   of   the   jailors,   and    uncertain    of   li is   own 
power,  cries  out: 

Then  leave  her,   then  leave  her,  or   remain  to  your  shame; 
If   it  please  you  to  stay,   mine   is  no  more   the  game ! 

Marguerite    (in  horror,  recognizinz  the  Evil  One,  the  cause  of  all  her  icoes)  : 
Who  is  there!     Who   is   there! 
Dost   thou   see,    there   in   the   shadow 
With  an  evil  eye  like  a  coal  of  fire! 
What  does  he  here!    He  who  forbade  me  to  pray! 

Mephistopheles   (to  Faust)  : 

Let  us  go,  ere  with  dawn 

Doth  justice  come  on: 

Hark!    the   horses   panting  in   the  courtyard  below, 

To  bear  us  away! 

Come   ere   'tis   day,    or   stay   and   behold   her    undone! 
As  he  sings,  the  tramping  and  neighing  of  horses  are  heard   in  the  accompani- 
ment. 

Marguerite    {with  fresh  courage,  defying  him)  : 

Away,   for  I  will   pray!     (in   rapture) 
Holy   Angels,   in   Heaven   bless'd 
My   spirit   longs   with    thee   to   rest! 

Faust: 

Come,  mine  own, 
Ere  'tis  too  late  to  save  thee! 
(Mephistopheles,  in  desperation,  repeats  his  warning  to  Faust.) 

Mephistopheles  : 

Let  us  leave   her!      Come  or  be  lost,  for  the  day  is  near! 
Come  away!    the  dawn  is  grey, 
Come  ere  they  claim  thee! 

Faust: 

Come  with  me!     Come  wilt  thou  not  hear? 
Lean  on   my  breast.     The  early  dawn   is  grey. 
0  come !     I'm  here  to  save  thee ! 

Marguerite  : 

Holy  Angels,   in  Heaven  bless'd 

My  spirit  longs  with  thee  to  rest! 

Great  Heaven,  pardon  grant,  I  implore  thee, 

For  soon  shall   I   appear  before  thee! 

0  save  me !   ere  I  perish  forever : 

To  my  despair  give  ear,  I  pray  thee! 

Holy  Angels,   in   Heaven   bless'd 

My  spirit  longs  with  thee  to  rest ! 

(She  dies.) 

[Lesson  VIII,  Course  I.} 
95206     Trio     ("Faust")  Gounod 

This  trio   between   Valentine,   Faust   and   Mephistopheles   takes 
place  in  the  fourth  act  of  Gounod's  opera,  "Faust."     The  second 

265 


Analyses 

scene  shows  us  the  square  in  front  of  the  Cathedral  and  we  witness 
the  return  of  the  soldiers  from  the  wars.  As  his  companions  march 
away,  Valentine  goes  in  search  of  his  sister  Marguerite  and  is  con- 
fronted by  Faust  and  Mephistopheles.  A  quarrel  ensues,  leading  up 
to  this  spirited  trio,  after  wThich  occurs  the  duel  scene  and  the  death 
of  Valentine.     [Lesson  VII,  Course  I.] 

35075     Chorus— Unfold  Ye  Portals     ("  The  Redemption")  Gounod 

Gounod  gave  to  this  work  the  title  "The  Redemption,  a  Sacred 
Trilogy,"  and  he  wrote  on  the  opening  page,  "The  work  of  my 
life."  He  tells  us  that  "the  work  is  a  lyrical  setting  forth  of  the 
three  great  facts  on  which  depends  the  existence  of  the  Christian 
Church;  the  passion  and  death  of  the  Saviour;  His  glorious  life  on 
earth,  from  the  Resurrection  to  the  Assumption ;  and  the  spread  of 
Christianity  throughout  the  world,  through  the  mission  of  the 
Apostles." 

This  chorus  occurs  as  the  finale  to  the  second  part  of  the 
Trilogy : 

Unfold  ye  portals  everlasting, 

With  welcome  to  receive  Him  ascending  on  high, 

Behold  the  King  of  Glory !     He  mounts  up  through  the  sky, 

Back  to  the  heavenly  mansions  hasting, 

Unfold,  for  lo!  the  King  comes  nigh. 

But  who  is  He!  the  King  of  Glory? 

He  who  Death  overcome,  the  Lord  in  battle  mighty, 

Of  hosts,  He  is  the  Lord  of  Angels  and  of  powers, 

The  King  of  Glory  is  the  King  of  Saints, 

Unfold  ye  portals  everlasting, 

For  lo !  the  King  comes  nigh. 

[Lesson  XXIX,  Course  IV.] 

61123     Exultate  Justi  Gregorian 

This  is  a  splendid  example  of  the  Gregorian  Chant  as  it  is  now 
used  in  the  Roman  Catholic  Church  of  to-day.     [Lesson  IV,  Course  II.] 

71001     Kyrie  Eleison  Gregorian 

The  Kyrie  Eleison  (God  Have  Mercy)  is  that  portion  of  the 
Mass  which  follows  the  Introit  and  precedes  the  Gloria  in  Excelsis. 
It  is  the  end  of  the  Litany  which  precedes  the  Mass.  [Lesson  IV, 
Course  II.] 

61108     Offertorio  e  Communione  Gregorian 

The  Offertorio  is  a  portion  of  a  psalm  or  verses  from  some  part 
of  the  Scriptures  sung  by  the  choir  at  the  High  Mass,  immediately 

266 


Analyses 

after  the  Credo,  during  the  time  when  the  priest  is  making  the  obla- 
tions and  offering  them  on  the  altar.  In  Gregorian  music  these 
lines  are  sung  antiphonallv.  [Lesson  I,  Course  II ;  Lesson  IV,  Course 
II.] 

35279    Hymn  to  Apollo  Greek 

This  great  Hymn  to  Apollo*  is  considered  our  most  authentic 
music  of  Ancient  Greece.  The  two  tablets  of  marble  on  which  this 
hymn  was  inscribed,  have  the  neum  notation  of  the  third  century 
B.  C,  and  as  we  have  a  record  of  such  a  song,  sung  in  praise  of  the 
Delphic  Apollo,  the  date  has  been  determined  as  278  B.  C.  The  two 
marble  slabs  on  which  the  hymn  was  found  were  discovered  in 
Delphi,  May,  1893,  by  the  French  Archeological  School  of  Athens. 
The  measure  is  the  famous  5/4,  which  came  into  Russian  folk  music 
through  the  influence  of  the  Greek  Church.     [Lesson  III,  Course  II.] 

63511     Kyrie  Kekraxa  Greek 

The  chants  of  the  Hebrews  were  copied  by  both  the  Egyptians 
and  the  Greeks,  but  with  the  rise  of  the  Christian  Church,  we  find 
that  the  Hebrew  influence  is  again  very  strong.  The  division  of 
the  Catholic  Church  resulted  in  the  Greek  Church  returning  to  some 
of  the  earlier  Greek  chants,  said  to  be  more  similar  to  those  employed 
by  Ambrose,  in  the  fourth  century.  This  is  an  example  of  the 
Kyrie  from  the  ritual  of  the  mass  used  in  the  Greek  Church  today. 
[Lesson  HI,  Course  I.] 

63511     Kinonikon  Greek  Chant 

Although  with  the  division  of  the  Catholic  Church  the  Greek 
Church  still  retained  the  use  of  antiphonal  chants,  we  find  that  the 
ancient  system  of  Greek  music  somewhat  influenced  and  changed  the 
character  of  their  chants,  so  that  today  they  have  many  points  of  con- 
trast with  the  Gregorian  chanting.  In  the  Greek  Church  of  Russia 
today  are  to  be  found  the  deepest  bass  voices  in  the  world.  [Lesson 
III,  Course  II.] 

64198     Gavotte  Gretry 

Andre  Gretry  (1741-1813)  is  the  most  famous  composer  of  the 
group  of  Frenchmen,  who  wrote  in  the  form  of  the  Opera  Comique, 
at  the  end  of  the  eighteenth  century. 

Although  acknowledged  by  all  critics  to  be  weak  in  harmony, 

*  Transcribed   by  Theodore   Reinach.      Accompaniment   (ad  lib.)  by   Gabriel   Faure.     Greek 
text  restored  by  Henri  Weil.     English  translation  by  C.  F.  Abdy  Williams. 

267 


Analyses 

Gretry  left  many  instrumental  works,  including  six  symphonies,  in 
the  style  of  his  contemporary  Haydn. 

Although  the  Minuet  was  the  favorite  Court  dance  of  this 
period,  we  find  the  Gavotte  (so  named  from  the  region  whence  it 
originated,  a  province  in  France)  was  also  exceedingly  popular. 
This  charming  example  of  the  Gavotte  follows  the  regulation  form  of 
dance,  trio,  dance.     [Lesson  I,  Course  II;  Lesson  IV,  Course  III.] 

63621     Cradle  Song  Grieg 

This  song  is  far  different  from  the  customary  lullaby  sung  by  a 
mother  to  her  child,  for  in  this  setting  of  a  poem  by  the  poet  Andreas 
Munch  (1811-1884)  Grieg  has  given  us  a  picture  of  a  father  singing 
to  his  motherless  child.  The  intense  grief,  combined  with  the  loving 
tenderness  portrayed  in  this  song,  make  it  a  work  unique  in  the  annals 
of  song  literature. 

Sleep  my  child,  thy  Father  here, 

Watches  o'er  thee,  ever  near. 

Mother  cannot  come  to  thee 

For  death  has  taken  her  from  me. 

Maybe  thou  dost  see  her,  dear! 

As  she  hovers  ever  near! 

Can  you  see  her  in  your  dream, 

Does   her   smile   upon    you   beam? 

Thy  poor  father  nothing  sees, 

Only  all  Death  's  miseries. 

Thy  small  hand  his  only  guide, 

Thou  shalt  lead  him  to  her  side. 

(From  Ditson  Edition.) 

[Lesson  XXIII,  Course  II.} 

16764     Ich  liebe  dich  Grieg 

The  great  popularity  of  Grieg's  music  is  due  largely  to  the  fact 
that  he  wras  able  to  weave  with  such  consummate  skill  the  characteris- 
tics of  the  Norwegian  folk  music  into  the  classical  forms.  This  compo- 
sition is  one  of  the  most  beautiful  love  songs  ever  written. 

My  loved  one,  blessed  all! 
My  thoughts  I'd  give  to  thee — 
I  love  thee  more  than  all  the  world, 
Oh  love,  my  love,  I  love  but  thee. 

[Lesson  XXIII,  Course  II.] 

71042     Norwegian  Wedding  March  Grieg 

This  Wedding  March  is  an  excellent  example  not  only  of  the 
old  form  of  march  with  trio,  but  also  of  the  folk  music  of  Norway, 
which  Grieg  has  immortalized.  This  work  should  be  compared  with 
the  Soderman  "Swedish  Wedding  March."    [Lesson  XXIV,  Course  I.] 

268 


Analyses 

35007     Peer  Gynt  Suite  Grieg 

This  record  gives  us  the  first  two  numbers  of  Grieg's  Suite  I, 
"Peer  Gynt,"  the  first  being  entitled  ' ' Morning, "  and  the  second, 
"Ase's  Death."  In  no  work  has  Grieg  attained  greater  popularity 
than  in  the  incidental  music,  which  he  wrote  for  Henrik  Ibsen's 
fantastic  drama  "Peer  Gynt."  Ibsen's  drama  is  a  remarkable 
descriptive  portrayal  of  the  Norwegian  ne'er-do-well,  with  his  dreams 
of  ambition,  which  are  only  made  real  by  the  sacrifice  of  a  woman's 
love.  The  story  is  a  folk-tale  similar  in  character  to  the  legend  of 
Faust.  The  music  of  Grieg  received  such  popular  approval  that  he 
arranged  a  number  of  the  separate  compositions  in  two  concert 
suites.  "Morning"  gives  us  an  excellent  tone  picture  of  the  dawning 
of  the  day,  from  the  first  pink  light  to  the  full  glory  of  the  sun. 
"Ase's  Death"  is  a  brief,  solemn  funeral  dirge,  well  describing  the 
heart-broken  mother  deserted  by  her  harum-scarum  son.  [Lesson 
XXIII;  Course  II.] 

61143     Sea  Gull's  Cry     (Russian  Folk  Song)  Grodski 

This  duet  is  an  adaptation  of  an  old  Russian  folk  song  by 
Grodski.  The  translation  of  the  words  gives  us  a  good  idea  of  the 
poetic  beauty  in  this  song,  which  is  called  a  Nocturne. 

The  cry  of  the  snow-white  sea-gull — 

The  odor  of  sea  and  pines, 

Never  ending. 

The  quiet  splash  of  the  dreaming  waves 

In  the  haze  of  the  dying  sun 

Eose  light  sending. 

The  first  sorrowful  star 

Appears  on  the  far  horizon, 

Brightly  shining. 

The  transparent  fires  of  the  coast 

Seem  in  the  fog  before  us,  i 

Like  giant  ships. 

The  splendid  moon  full  of  caresses, 

Tn  the  brilliance  of  her  sovereignty. 

On  such  a  night  one  knows  that  fairy  tales 

Again  may  gladly  live. 

[Lesson  VI,  Course  I;  Lesson  XXII,  Course  L] 

88068     Aria— Sweet  Bird     ("II  Pensieroso  ")  Handel 

Handel  was  inspired  to  write  two  oratorios,  "L 'Allegro"  and 
"II  Pensieroso,"  by  the  reading  of  Milton's  poem,  in  1740.  Although 
these   works   are   now   practically    obsolete,    several    of   the   best    of 

269 


Analyses 

Handel's  concert  arias  are  taken  from  these  compositions.  No  more 
beautiful  use  of  the  coloratura  soprano  is  to  be  found  in  musical 
literature  than  this  aria,  in  which  the  bird  voices  of  the  flute  and 
soprano  imitate  and  converse  with  each  other.    [Lesson  II,  Course  IV.] 

17175     II  Pensieroso     (Flute  and  Oboe)  Hande 

We  have  already  heard  this  famous  aria  sung  by  soprano  with 
flute  obbligato.  Here  we  have  an  opportunity  of  hearing  the  oboe 
imitate  the  soprano  voice,  with  the  flute  heard  in  the  original  part. 
[Lesson  XV,  Course  III.] 

74131     Sound  an  Alarm     ("  Judas  Maccabaeus  ")  Handel 

Handel's  oratorio,  "Judas  Maccabaeus,"  was  written  five  years 
after  "The  Messiah,"  being  produced  April  16,  1846,  in  honor  of  the 
victory  of  Culloden  and  the  return  of  the  troops  from  Scotland. 
Rev.  Thomas  Morrell,  a  Greek  scholar,  arranged  the  text  for  Handel, 
using  as  his  subject  the  story  of  the  great  Jewish  warrior,  Judas 
Maccabaeus.  This  great  aria  occurs  at  the  end  of  the  second  part  of 
the  work.  Judas  Maccabaeus  returns  in  triumph,  and  the  celebration 
of  his  victories  is  at  its  height  when  the  messenger  arrives  announcing 
another  attack  of  the  enemy.  Judas  arouses  the  ebbing  courage  of 
the  Israelites  in  this  great  aria,  and  the  army  once  more  departs 
against  the  enemy. 

To  arms,  to  arms. 

The  cause  of  Heaven  now  demands. 

Her  noble  cause  now  calls 

To  arms,  to  arms,  ye  brave. 

[Lesson  VIII,  Course  II.] 

74080     The  Trumpet  Shall  Sound     ("The  Messiah")  Handel 

This  great  bass  aria  occurs  in  the  last  part  of  Handel's  oratorio, 
"The  Messiah."  The  use  of  the  trumpet  in  the  orchestral  accompani- 
ment, while  following  the  imitative  idea  of  Handel's  period,  also 
points  the  way  toward  the  "characteristic  orchestration"  of  the 
modern  school.    The  text  is  from  I  Corinthians  xv:  52-53. 

"The  trumpet  shall  sound  and  the  dead  shall  be  raised  incorrupt- 
ible; and  we  shall  be  chang'd. 

"For  this  corruptible  must  put  on  incorruption.  and  this  mortal 
put  on  immortality."  [Lesson  XX,  Course  III ;  Lesson  XXV,  Course 
III.] 

270 


Analyses 

74126     Behold  and  See     ("The  Messiah  ")  Handel 

This  short  pathetic  aria  for  tenor  occurs  in  the  second  part  of 
Handel's  "Messiah,"  and  is  a  beautiful  example  of  the  religious 
pathos  with  which  Handel  has  invested  this  portion  of  the  work : 

Recitative  : 

Thy  rebuke  hath  broken  His  heart;  He  is  full  of  heaviness.  He  looked  for 
someone  to  have  pity  on  Him,  but  there  was  no  man,  neither  found  He  any  to 
comfort  Him. 

Arioso  : 

Behold  and  see  if  there  be  any  sorrow  like  unto  His  sorrow. 

[Lesson  HI,  Course  IV.} 

31770     Hallelujah  Chorus     ("  The  Messiah")  Handel 

The  great  "Hallelujah  Chorus"  is  the  triumphal  climax  of 
Handel's  mighty  oratorio,  "The  Messiah."  It  is  said  that  after 
hearing  the  work  sung  for  the  first  time,  the  composer  exclaimed, 
"I  did  think  I  saw  God  Himself."  The  mighty  force  of  this  wonder- 
ful example  of  contrapuntal  chorus  writing  has  never  been  equaled 
by  any  composer  of  any  school.  When  the  oratorio  was  performed 
in  London,  in  1743,  the  King  rose  to  his  feet  to  show  his  respect,  and 
all  the  audience  followed  his  example.  This  has  become  a  custom 
which  all  audiences  have  observed  during  the  singing  of  this  great 
work: 

Hallelujah !  for  the  Lord  God  omnipotent  reigneth, 

The  Kingdom  of  this  world  is  become  the  Kingdom  of  our  Lord,  and  of  his  Christ; 

And  He  shall  reign  forever  and  ever, 

King  of  Kings,  and  Lord  of  Lords ! 

Hallelujah !     Hallelujah ! 

[Lesson  IX,  Course  I;  Lesson  VIII,  Course  II;  Lesson  HI,  Course  IV.] 

85103     He  Shall  Feed  His  Flock     ("  The  Messiah  ")  Handel 

The  most  popular  oratorio  ever  written  is  Handel's  "Messiah," 
which  has  remained  in  public  favor  ever  since  its  production  on 
April  12,  1742,  in  Dublin. 

The  beautiful  contralto  aria,  "He  Shall  Feed  His  Flock,"  oc- 
curs at  the  end  of  the  first  part  of  the  work.  This  was  originally 
written  for  soprano,  but  was  later  re-scored  for  the  deeper,  more 
sympathetic  tone  quality  of  the  contralto  voice. 

Recitative  : 

Then  shall  the  eyes  of  the  blind  be  opened  and  the  ears  of  the  deaf  unstopped; 
then  shall  the  lame  man  leap  as  a  hart,  and  the  tongue  of  the  dumb  sing. 

271 


Analyses 

Aicia  : 

He  shall  feed  His  flock  like  a  shepherd;  and  He  shall  gather  the  lambs  with 
His  arm,  and  carry  them  in  His  bosom,  and  gently  lead  them  that  are  with  young. 

[Lesson  VIII,  Course  I;  Lesson  III,  Course  1\.\ 

88189     'Mid  Lures  and  Pleasures     ("Rinaldo")  Handel 

Handel's  opera  of  "Rinaldo"  was  his  first  work  to  be  heard  in 
England,  being  produced  in  London,  in  1711.  The  opera  is  in  the 
form  of  the  period  known  as  "Oratorio  Opera."  As  these  works 
consisted  of  merely  a  string  of  recitatives  and  arias  held  together  by 
no  dramatic  action,  it  is  little  to  be  wondered  that  Handel's  works 
in  this  form  are  obsolete  today.  Occasionally,  we  find  a  beautiful 
aria  which  is  heard  on  our  concert  stage,  but  no  performances,  ex- 
cept as  curiosities,  of  Handel's  operas  are  now  ever  given. 

This  is  a  splendid  example  of  the  recitative  and  aria  form. 

[Lesson  VII,  Course  II;  Lesson  II,  Course  IV.] 

16980     Dead  March      ("Saul/')  Handel 

"Saul"  was  Handel's  first  oratorio  and  was  written  in  1739. 
This  famous  march  deserves  to  rank  as  one  of  the  greatest  funeral 
inarches  in  musical  literature.     [Lesson  VIII,  Course  II.] 

74155     Largo     ("Xerxes")  Handel 

The  familiar  and  ever  popular  Largo  is  usually  given  today  as 
an  instrumental  composition.  It  is,  in  fact,  however,  the  air  sung 
by  tenor  in  Handel's  opera  "Xerxes"  (1738),  and  in  its  right  place 
in  the  opera  occurs  at  the  beginning  of  the  first  act.  The  scene 
shows  a  summer  house  near  a  beautiful  garden,  where  there  grows 
a  plane-tree.  To  the  garden  comes  Xerxes  and  sings:  "There  never 
was  a  lovelier  tree  than  thou,  there  never  was  a  sweeter  shade  of  a 
dear  and  lovely  plant."  [Lesson  VII,  Course  II;  Lesson  II,  Course 
IV.] 

70027     Prayer  Hasselmans 

This  semi-religious  composition  for  harp  gives  an  excellent  op- 
portunity to  study  the  broad  arpeggio  effects  possible  to  the  modern 
day  harp.     [Lesson  XI,  Course  III.] 

16083     Austrian  Hymn  Haydn 

The  great  composer,  Franz  Joseph  Haydn,  wrote  the  Austrian 
National   Hymn   after  his  visit  to   England.     It    is   said    that  he   was 

272 


Analyses 

inspired   by  hearing  "God   Save  the  King,"   and    that    his   anthem   was 
a  copy  of  that  famous  song. 

Just  at  this  time  occurred  a  war  between  France  and  Austria  and 
Haydn's  song  therefore  attained  immediate  popularity.  On  February 
12,  1797,  the  Emperor's  birthday,  the  new  National  Anthem  made  its 
appearance,  being  sung  simultaneously  at  all  the  theatres  in  Vienna. 
It  is  said  this  hymn  was  Haydn's  favorite  composition  and  was  a 
great  solace  to  him  in  his  last  hours.     [Lesson  XI,  Course  II.] 

74250     In  Native  Worth     ("  The  Creation  *')  Haydn 

The  greatest  tenor  aria  in  Haydn's  oratorio,  "The  Creation," 
occurs  after  the  aria  sung  by  Raphael  on  the  creation  of  man.  The 
angel  Uriel  then  sings  of  the  creation  of  Eve,  and  the  happiness  of 
the  newly  created  pair : 

In  native  worth  and  honor  clad, 

With  beauty,  courage,  strength  adorn  'd, 

Erect,  with  front  serene  he  stands 

A  man,  the  lord  and  king  of  nature  all. 

His  large  and  arched  brow  sublime, 

Of  wisdom  deep  declares  the  seat, 

And  in  his  eyes  with  brightness  shines 

The  soul,  the  breath  and  image  of  his  God. 

With  fondness  leans  upon  his  breast, 
The  partner  for  him  formed, 
A  woman  fair  and  graceful  spouse, 
Her  softly  smiling  virgin  looks 
Of  flowery  springing  mirror, 
Bespeak  him  love  and  joy  and  bliss. 

[Lesson  VI,  Course  IV.] 
60055     With  Verdure  Clad     ("  The  Creation  ")  Haydn 

The  "Creation,"  which  Haydn  called  "the  greatest  work  of  my 
life,"  was  finished  when  the  composer  was  sixty-seven  years  old. 
Having  been  much  impressed  by  Milton's  "Paradise  Lost,"  during 
his  visit  to  London,  in  1796,  the  composer  began  this  oratorio,  "The 
Creation,"  which  was  finished  two  years  later. 

The  soprano  aria,  "With  Verdure  Clad,"  which  Haydn  declared 
to  be  his  favorite  of  the  whole  work,  occurs  in  the  second  part  of  the 
oratorio — "The  Work  of  the  Second  Day."  This  part  opens  with 
the  description  of  the  "Rolling  in  Foaming  Billows,"  and  after  the 
division  of  the  waters,  the  soprano  describes  the  fields,  "With  Verdure 
Clad": 

With  verdure  clad  the  fields  appear 

Delightful  to  the  ravish 'd  sense, 

By  flowers  sweet  and  gny. 

273 


Analyses 

Enhanced  by  the  charming  sight, 

TIere  fragrant  herbs  their  odors  shed, 

Here  shoots  the  healing  plant, 

With  copious  fruit  the  expanded  boughs  are  hung; 

In  leafy  arches  twine  the  shady  groves, 

0  Vr  lofty  hills  majestic  forests  wave 

With  verdure  clad  the  fields  appear 

Delightful  to  the  ravished  sense. 

[Lesson  VI,  Course  IV.] 

64135     Menuett  Haydn 

The  Minuet  was  the  most  popular  Court  dance  of  the  seventeenth 
and  eighteenth  centuries.  Its  name  denotes  its  French  origin,  for 
it  is  derived  from  the  word  menu,  meaning  small,  and  probably  re- 
ferred to  the  dainty  steps  taken  by  the  dancers.  Some  authorities 
claim  it  originated  in  the  province  of  Poitou,  others  say  it  was  the 
invention  of  Lully.  In  its  earliest  form,  it  consisted  of  two  eight- 
bar  phrases,  in  3/4  time,  both  repeated.  As  a  complement  to  the  first 
minuet,  a  second  was  added.  This  was  in  three-part  harmony  (in  the 
earliest  days  played  by  three  instruments),  hence  its  name,  Trio. 
After  this  is  played,  the  first  minuet  is  repeated.  We  find  interest- 
ing examples  of  the  minuet  in  the  suites  of  the  period  of  Bach.  It 
was  Haydn  who  introduced  the  minuet  into  the  sonata,  quartet 
and  symphony  as  the  third  movement  of  his  four-part  form.  While 
retaining  the  old  form  of  minuet,  Haydn  changes  its  spirit  from 
the  stately  slow  dance  of  ceremony  into  the  light-hearted,  humorous 
gaiety  of  the  dance.  The  tempo  is  more  animated,  and  the  spirit  of 
downright  fun  is  apparent.  [Lesson  XI,  Course  II.] 
88289     My  Mother  Bids  Me  Bind  My  Hair  Haydn 

This  charming  song  of  Haydn's  is  an  excellent  example  of  the 
style  of  Italian  concert  aria  in  use  in  Haydn's  day.  Although  the 
"Father  of  the  Sonata"  left  us  no  great  operatic  works,  he  has  shown 
us,  in  his  oratorios  and  songs,  that  he  well  understood  the  use  of  the 
human  voice  in  the  bel  canto  of  the  classical  school.  [Lesson  XI, 
Course  II.] 
35243     Symphony  No/3     ("Surprise")  Haydn 

Haydn's  Symphony  No.  3,  is  known  as  the  "Surprise"  Symphony, 
because  of  the  sudden  fortissimo  crash  at  the  end  of  the  second  move- 
ment. Haydn  wrote  this  work  in  1791,  while  he  was  at  the  Court  of 
Prince  Esterhazy.  The  Prince  one  day  complained  that  his  music 
was  all  dull  and  of  the  same  color,  and  Haydn  determined  to  play  a 
joke  on  his  lord.    When  this  symphony  was  being  played,  the  dreamy, 

274 


Analyses 

beautiful  music  of  the  andante,  which  served  as  the  second  subject,  had 
quite  put  the  Court  to  sleep,  when  suddenly  the  full  orchestra  in  this 
ff  chord  aroused  thein  to  the  fact  that  genial  "Papa"  Haydn  had 
played  a  joke  on  them.  Henceforth  this  symphony  was  known  as 
' '  The  Surprise. ' '  The  work  follows  the  customary  pattern  of  Haydn 's 
symphonies.  The  first  movement  opens  with  an  andante  introduction, 
which  changes  to  vivace  with  the  statement  of  the  first  subject,  the 
second  subject  is  then  heard  in  the  related  key  (the  repetition  of 
subjects  is  not  possible  on  a  record  of  this  size).  The  free  fantasia 
or  working  out  of  subjects,  is  followed  by  the  return  of  the  first  sub- 
ject in  the  original  key,  the  second  also  appears  in  the  original  key, 
and  a  short  coda  brings  the  movement  to  a  close. 

The  second  movement  is  a  beautiful  andante,  which  is  in  the  song 
form  having  a  contrasting  second  theme,  after  which  the  first  is  again 
heard.  The  entire  movement  breathes  of  peace  and  beauty  until  the 
arrival  of  the  "surprise"  chords  heard  at  the  end.  [Lesson  XXVI, 
Course  III.] 

35244     Symphony  No.  3     ("Surprise")  Haydn 

The  last  two  movements  of  Haydn 's  ' '  Surprise ' '  symphony  show 
us  the  genial  "Father  of  the  Symphony"  at  his  best.  The  minuet 
follows  the  customary  form  of  the  dance,  contrasting  dance  or  trio, 
and  return  to  the  first  dance.  With  Haydn  the  minuet  is  always  a 
dance  of  the  folk  and  rarely  shows  the  influence  of  the  Court,  where 
the  minuet  at  this  time  ruled  supreme. 

The  last  movement,  Finale,  is  in  the  pattern  of  the  first  movement 
and  follows  the  "sonata"  form,  having  the  two  alternating  subjects, 
their  working-out  and  recapitulation.  In  the  movement  Haydn  shows 
his  rare  gift  for  counterpoint,  which  he  always  combines  so  cleverly 
with  spontaneity,  that  the  method  is  lost  in  the  beauty  of  the  work  as 
a  whole.     [Lesson  XXVI,  Course  HI.] 

31762     Badinage  Victor  Herbert 

Although  born  in  Dublin,  America  has  just  cause  to  claim  Victor 
Herbert  as  her  own,  for  his  work  as  violoncellist,  conductor  and  com- 
poser has  all  been  done  in  America.  Mr.  Herbert  has  excelled  par- 
ticularly in  the  writing  of  exceptional  comic  operas,  which  richly 
deserve  their  popularity.  It  is  said  that  Herbert  inherits  his  Irish 
wit  from  his  grandfather,  Samuel  Lover.  This  short  composition 
which  is  filled  with  joy  and  happiness  has  been  very  popular.  [Lesson 
X,  Course  I.] 

275 


Analyses 

70049     Dagger  Dance     ("  Natoma  ")  Victor  Herbert 

The  Dagger  Dance  occurs  at  the  end  of  the  second  act  of  Victor 
Herbert's  opera  "Natoma."  The  scene  shows  the  piazza  in  front 
of  the  mission  church  of  Santa  Barbara.  The  square  is  full  of  people 
who  have  assembled  to  take  part  in  the  fiesta.  Castro,  the  half- 
bred  Indian,  rails  the  dances  of  the  time  and  challenges  any  to  dance 
with  him  the  famous  Indian  Dagger  Dance.  Natoma  responds  to  his 
challenge,  and  the  ancient  dance  of  the  Californians  begins.  Mr. 
Herbert  has  employed  an  Indian  theme,  which  as  it  is  orchestrated 
for  the  drums  and  wind  instruments,  retains  a  barbaric  simplicity 
which  is  remarkable.  [Lesson  XXIX,  Course  II;  Lesson  I,  Course 
III;  Lesson  XXIII,  Course  111.] 

74188     Der  Zephir  Jeno  Hubay 

Jeno  Hubay  (1858),  the  famous  Hungarian  violinist,  received 
his  first  lessons  from  his  father,  who  was  Kapellmeister  of  the  Hun- 
garian Opera,  at  Buda-Pesth.  In  1882,  Jeno  Hubay  went  to  the 
Brussels  Conservatory  as  teacher  of  violin,  but  returned  to  Buda- 
Pesth,  in  1886,  to  take  the  position  left  vacant  by  the  death  of  his 
father.  He  had  made  frequent  concert  tours  through  Europe  and 
has  done  much  to  further  an  interest  in  Hungarian  music.  Many  of 
his  works  reflect  the  national  spirit.  "Der  Zephir"  is  a  short  com- 
position, one  of  a  series  for  violin,  called  "  Blumenleben. "  It  is  a 
musical  tone  picture  of  the  zephyr-like  breeze  of  the  summer  evening, 
and  is  an  excellent  example  of  the  use  of  violin  harmony.  [Lesson  IV, 
Course  III.] 

31853     Prelude     ("  Hansel  and  Gretel")  Humperdinck 

This  charming  fairy  opera,  by  Engelbert  Humperdinck,  was  first 
produced  at  Weimar,  1893,  and  has  since  been  one  of  the  most 
popular  operas  ever  given,  both  in  Europe  and  America.  The  Vor- 
spiel  opens  with  a  short,  slow  introduction,  which  is  followed  by  the 
brilliant  vivace  movement  in  2-2  time.  The  trumpet  gives  out  the 
spirited  first  subject,  after  which  a  bustling  figure  is  heard  in  the 
violins  and  wood-winds;  this  theme  is  brought  to  a  fortissimo  climax, 
then  the  more  quiet  and  subdued  second  subject  is  heard.  After  a 
short  development,  in  which  the  theme  of  the  introduction  is  again 
heard,  the  recapitulation  of  the  subjects  brings  the  movement  to 
the  coda  ending,  which  is  based  on  the  slow  theme  of  the  introduc- 
tion.    [Lesson  XXV,  Course  II;  Lesson  XIX,  Course  IV.] 

276 


Analyses 

64164     The  Old  Witch     ("  Hansel  and  Gretel  ")  Humperdinck 

This  descriptive  aria  is  sung  by  Peter,  the  father  of  the  chil- 
dren, at  the  end  of  the  first  act  of  "Hansel  and  Gretel."  When  he 
returns  to  his  forest  hut  and  learns  from  his  wife  that  she  has  sent 
the  children  into  the  woods  to  gather  berries,  he  is  very  much  alarmed 
for  fear  that  Hansel  and  Gretel  may  meet  the  witch  of  Ilenstein. 

64188     Hexenritt     ("  Hansel  and  Gretel ")  Humperdinck 

Humperdinck 's  modern  use  of  the  Singspiel  in  "Hansel  and 
Gretel"  has  opened  a  path  which  many  other  modern  composers  are 
taking :  that  of  using  simple  folk  tales  and  fairy  tales  as  the  basis 
of  operatic  librettos.  No  work  since  Wagner  has  been  so  enthusias- 
tically received  as  has  "Hansel  and  Gretel,"  and  it  deserves  its  popu- 
larity. "The  Witch's  Ride"  occurs  in  the  third  act.  The  scene 
shows  the  witch's  home.  Thither  Hansel  and  Gretel  have  been  led 
by  the  witch's  magic,  and  Hansel  has  been  put  in  a  cage  in  the  yard, 
while  Gretel  is  ordered  to  bring  him  dainties  from  the  house,  that 
he  may  become  fat  eating  for  the  wicked  witch.  The  witch  indulges 
in  some  weird  incantations,  tells  of  her  plans  in  this  aria,  then  takes 
a  short  ride  on  her  broomstick,  in  her  delight  that  she  has  captured 
two  more  toothsome  victims. 

64184     Thou  Innocent  One     ("Koenigskinder  ")  Humperdinck 

This  beautiful  aria  from  the  last  opera  of  Humperdinck  occurs 
in  the  third  act  of  "Koenigskinder."  The  old  fiddler,  released  from 
prison,  has  taken  up  his  abode  in  the  witch's  hut  in  the  wood. 
Thither  come  the  children  of  Hellabrun  to  beg  him  to  go  with  them 
to  search  for  the  lost  children  of  the  King.  When  the  youngest  child 
tells  the  fiddler  that  all  are  now  sure  that  the  children,  whom  the 
town  rejected,  were  the  real  King  and  Queen,  and  begs  him  to  lead 
them  to  rescue  the  unfortunates,  the  fiddler  replies : 

17003     Czardas  Hungarian 

The  Czardas  is  the  most  popular  Hungarian  dance.  The  name 
is  derived  from  an  inn,  Czarda,  on  the  plain,  where  this  dance  is  said 
to  have  been  first  performed.  Every  Czardas  consists  of  two  parts,  a 
Lassen,  or  slow  movement,  and  a  Friska,  or  rapid  dance.  These  two 
alternate  at  the  will  of  the  dancers,  a  sign  being  given  by  them  to 
the  musicians  whenever  a  change  of  tempo  is  desired.  [Lesson  XXI, 
Course  I.] 

277 


Analyses 

64259     The  Harp  That  Once  Thro*  Tara's  Halls  Old  Irish 

111  days  when  Ireland  was  a  land  renowned  for  its  learning  the 
priests,  bards  and  chiefs  used  to  gather  at  the  castle  of  Tara.  It  was 
there  also  that  the  annual  contests  of  the  harpers  were  held.  These 
verses  glorifying  "Tara's  Halls"  were  written  by  Thomas  Moore  and 
are  set  to  an  old  Irish  air.     [Lesson  XXVI,  Course  I.] 

31865     Songs  of  Ireland 

This  medley  includes  all  the  favorite  Irish  songs.  The  char- 
acteristics of  national  expressions  here  reflected  are : 

1  Chorus— "The  Harp  That  Once  Thro'  Tara's  Halls".  .Patriotism 

2  Solo — "The  Last  Rose  of  Summer," 

Sentiment  as  a  strong  characteristic  of  the  Irish 

3  Solo  with  Chorus— "Love's  Young  Dream" Love 

4  Solo— "The  Wearing  of  the  Green" Patriotism 

5  Solo— "Killarney" Love  of  Country 

6  Chorus—' '  Come  Back  to  Erin  " Love  of  Country 

[Lesson  XXVI,  Course  I.] 

64117     The  Minstrel  Boy  Old  Irish 

The  words  of  this  song  are  by  Sir  Thomas  Moore,  who  wrote  them 
to  fit  the  music  of  an  old  Irish  air  called  "The  Green  Woods  of 
Tringha. ' '  This  tune  is  one  of  the  oldest  in  Ireland,  and  is  known  by 
various  names  throughout  the  country.      [Lesson  XXVI,  Course  I.] 

17002     St.  Patrick's  Day  Irish 

This  song  is  written  to  the  air  of  an  old-fashioned  Irish  jig.  In 
some  parts  of  Ireland  the  song  is  still  sung  to  accompany  the  dance. 
The  air  has  been  used  to  other  words  entitled  "Princess  Day,"  the 
first  lines  of  which  are,  ' '  Tho '  dark  be  our  sorrows,  today  we  '11  forget 
them." 

The  words  to  "Saint  Patrick's  Day"  are: 

O  blest  be  the  day  when  the  Green  Banner  floated, 

Sublime  o'er  the  mountains  of  free  Innisfall, 

When  her  sons  to  her  glory  and  freedom  devoted, 

Defied  the  invader  to  tread  her  soil, 

When  back  from  the  Main  they  chased  the  Dane, 

And  gave  to  religion  and  learning  their  spoil, 

When  valor  and  mind  together  combined, 

But  wherefore  lament  o'er  the  glories  departed, 

Her  star  shall  shine  out  with  as  vivid  a  ray, 

For  ne  'er  had  she  children  more  brave  and  true  hearted 

Than  those  she  now  sees  on  Saint  Patrick's  Day. 

[Lesson  XIV,  Course  I;  Lesson  XXVI,  Course  I.] 

278 


Analyses 

74105     O  Sole  Mio  Italian 

This  charming  Italian  song  of  sunshine  is  a  popular  folk  song  in 
Italy  today.  It  may  be  classed  with  legendary  songs,  as  reflecting 
poetic  thought. 

What  lovely  sunshine! 

What  a  day  of  beauty! 

How  calm  the  air  is 

When  the  storm   is  ended. 

But  I  know  sunshine 

More   lovely   still ; 

From  thy  dear  features, 

Its   bright  rays  thrill. 

That    sunshine,    radiant    sunshine, 

My  heart  doth  fill! 

[Lesson  XV,  Course  I.] 

16136     Garibaldi  Hymn  Italian 

This  famous  hymn  of  Italy  dates  from  the  rise  of  United  Italy. 
It  was  first  sung  by  the  armies  of  the  great  Garibaldi,  and  it  takes  its 
name  from  the  famous  general  (1807-1882). 

All  forward!      All  forward! 

All  forward  to  battle! 

The  trumpets  are  crying 

Our  old  flag  is  flying. 

Liberty!      Liberty,    deathless    and    glorious, 

Under  thy  banner  thy  sons  are  victorious. 

Hurrah   for  the  banner! 

The  flag  of  the  free! 

[Lesson  XVI,  Course  I.] 

64160     La  Mandolinata     (Paladilhe)  Italian 

This  charming  serenade  song  belongs  to  the  class  of  legendary 
folk  songs.  Note  the  interesting  imitation  of  the  serenader  playing 
upon  his  mandolin,  the  instrument  from  which  this  charming  little 
composition  takes  its  name. 

Oh!  come  the  night  is  lovely, 
The  moon  now  shines  so  bright, 
In  yonder  boat,  we'll  gently  float, 
Our  hearts  are  free  and  light. 

[Lesson  II,  Course  I.] 

88355     Tarantella— Napolitana    (Arr.  by  Rossini)  Italian 

This  attractive  example  of  a  Neapolitan  dance  is  made  by  Ros- 
sini. This  dance,  which  is  distinctive  of  South  Italy,  takes  its 
name  from  Taranto,  in  the  old  province  of  Apulia.  The  music  is  in 
6/8  time,  played  at  increasing  speed,  with  frequent  changes  from 

279 


Analyses 

major  to  minor.  In  its  oldest  form  it  was  always  sung,  and  was 
accompanied  by  tambourines  and  castanets.  There  prevailed  from 
the  fifteenth  to  the  eighteenth  century,  a  strange  superstition 
among  the  South  Italians  that  anyone  bitten  by  a  tarantula  spider 
could  alone  be  cured  by  dancing  the  Tarantella.  [Lesson  XVI, 
Course  I.] 

17083     Tarantella     (Italian  Dance)  Victor  Military  Band 

This  popular  Italian  dance  originated  in  Tarentum.  As  we 
have  already  given  its  history,  it  will  only  be  necessary  to  describe 
its  actual  performance.  It  is  in  6/8  time  and  the  key  constantly  changes 
from  major  to  minor.  It  is  usually  danced  by  two  dancers,  a  man  and 
woman,  who  accompany  themselves  by  the  castanets  and  tambourines. 
It  continually  increases  in  tempo  until  the  dancers  are  exhausted. 
[Lesson  XIV,  Course  I.] 

64228     Birchos  Kohanim  Jewish  Chant 

The  most  ancient  music,  in  which  we  can  trace  our  modern 
development,  are  the  chants  of  the  Hebrews.  These  antiphonal 
chants,  given  by  the  cantor,  and  answered  by  his  chorus,  are  still  in 
use  in  the  orthodox  temples  of  the  Jews  today.  They  were  imitated 
by  the  Greeks,  and  a  combination  of  the  Jewish  and  Hebrew  chant- 
ing resulted  in  the  antiphonal  chanting  in  the  early  Christian  Church. 
This  record  gives  us  the  closing  benediction  by  the  priests  to  their 
congregation,  as  it  is  still  sung  in  the  Hebrew  synagogues  today.  [Les- 
son II,  Course  II.] 

64231     Kawakores  Rohr  Adre  Jewish  Chant 

This  Hebrew  chant,  sung  by  Cantor  Sirota,  of  Warsaw,  with 
chorus,  is  the  psalm  ' '  Like  a  Shepherd. ' '  In  this  chant,  one  feels  the 
steadfast  trust  in  the  God  "who  watches  over  Israel."  [Lesson  II, 
Course  II.] 

88029     Prologue     ("  I  Pagliacci  ")  Leoncavallo 

This  famous  aria  for  baritone  is  used  by  Leoncavallo  as  the  intro- 
duction to  his  opera  of  "I  Pagliacci."  It  is  interesting  to  note  that 
many  of  the  operas  of  the  modern  Italians  employ  the  voice  as  a 
part  of  the  Prelude;  the  use  of  the  Siciliana  in  "Cavalleria  Rusticana" 
being  another  excellent  example. 

280 


Analyses 

The  story  of  "I  Pagliacci"  is  of  a  band  of  traveling  mountebanks, 

so  it  is  a  iitting  preparation  of  the  scene  which    follows,   to  have   the 
clown  Tonio  come  before   the  curtain   and   sing  (his  aria: 

Ladies  and  gentlemen! 
Pardon  me  if  alone  I  appear, 
1  am  the  Prologue ! 

Our  author  loves  the  custom  of  a  prologue  to  his  story, 

And  as  he  would  revive  for  you  the  ancient  glory, 

He  sends  me  to  speak  before  ye ! 

But  not  to  prate,  as  once  of  old, 

That  the  tears  of  the  actor  are  false,  unreal, 

That  his  sighs  and  the  pain  that  is  told, 

He  has  no  heart  to  feel! 

No!    our  author  to-night  a  chapter  will   borrow 

From    life   with    its    laughter   and   sorrow! 

Is  not  the  actor  a   man  with  a  heart  like  you? 

So  'tis  for  men,  that  our  author  has  written, 

And  the  story  he  tells  you  is  true ! 

A   song   of   tender   mem'ries 

Deep  in   his  list'ning  heart  one  day  was  ringing; 

And  then  with  a  trembling  hand  he  wrote  it, 

And  he  marked  the  time  with  sighs  and  tears. 

Come  then ; 

Here  on  the  stage  you  shall  behold  us  in  human  fashion 

And  see  the  sad  fruits  of  love  and  passion, 

Hearts  that  weep  and  languish,  cries  of  rage  and  anguish, 

And  bitter  laughter! 

Ah,  think  then,  sweet  people,  when  ye  look  on  us, 

Clad  in  our  motley  and  tinsel, 

For  ours  are  human  hearts,   beating  with   passion, 

We  are  but  men  like  you,  for  gladness  or  sorrow, 

'Tis  the  same  broad  Heaven  above  us, 

The  same  wide,  lonely  world  before  us! 

Will   ye  hear,  then,  the  story, 

As  it  unfolds  itself  surely  and  certain! 

Come  then !   ring  up  the  curtain ! 

[Lesson  XXVI,  Course  II;  Lesson  XXIV ,  Course  IV.] 

74039     The  Marseillaise  Hymn  Rouget  de  Lisle 

The  French  patriotic  hymn  owes  its  name  to  the  fact  that  it 
was  originally  written  for  the  corps  of  the  city  of  Marseilles,  when 
they  entered  Paris,  July  29,  1792.  It  was  intended  by  its  com- 
poser, Rouget  de  Lisle,  to  be  the  song  of  the  French  Army  Corps, 
of  Strassburg,  and  was  given  to  their  leaders  the  night  preceding 
April  24,  1792.  As  the  Strassburg  Corps  did  not  use  it,  and  the 
Marseilles  Corps  did,  the  name  Marseillaise  has  always  been  retained. 


Analyses 

During  the  attack  of  the  Tuilleries,  in  August,  1792,  this  great  song 
became  in  truth  the  National  Hymn  of  France.  [Lesson  XIII, 
Course  I;  Lesson  XVIII,  Course  I.] 

35122     Hungarian  Rhapsody  No.  2  Franz  Liszt 

This  composition  is  the  most  famous  of  the  Hungarian  Rhapsodies 
by  Franz  Liszt.  In  these  works,  Liszt  gave  us  a  glimpse  of  Hungarian 
nationality  in  a  remarkable  degree.  These  Rhapsodies  were  written 
originally  for  piano,  but  were  later  arranged  for  orchestra  and  for 
band  performances.  This  composition  consists  of  a  slow  introductory 
movement  patterned  after  the  "Lassan"  or  slow  dance,  followed  by 
a  rapid  "Friska"  from  the  Czardas,  the  national  dance  of  Hungary. 
[Lesson  XIII,  Course  I;  Lesson  XVI,  Course  II.] 

70046     Liebestraum  Liszt 

This  charming  "Dream  of  Love"  is  one  of  those  short  pieces  for 
pianoforte,  contained  in  Opus  68,  of  Liszt's  catalogued  works.  It 
is  said  these  compositions  were  all  settings  of  songs  which  Liszt  had 
written  earlier.  This  popular  composition  has  been  transcribed  for 
orchestra  and  is  here  a  beautiful  example  of  the  expression  of  poetic 
thought.     [Lesson  X,  Course  I.] 

68339     Die  Uhr     (The  Watch)  Carl  Loewe 

Carl  Loewe  (1796-1869),  although  a  trifle  older  than  Schubert, 
really  followed  the  great  master  of  song,  in  his  writing  of  ballads  and 
art  songs.  Being  a  professional  singer  by  training,  Loewe  under- 
stood the  possibilities  of  the  human  voice,  and  although  many  of  his 
works  are  highly  dramatic,  they  always  remain  singable,  for  the 
lyric  and  dramatic  elements  are  welded  with  a  master  hand.  Loewe 
always  carries  his  dramatic  ideas  into  the  musical  accompaniment. 
Notice  in  this  selection,  the  imitation  of  the  ticking  of  the  watch. 
Be  certain  that  the  class  understands  the  poetic  significance  here,  also : 

Where'er  I  go,  I  carry 

A  watch  with  me  alway, 
And  only  need  look,  whenever 

I'd  know  the  time  of  day. 

It  was  a  Master  Workman 

Who  deftly  its  works  designed, 
Tho'  'twill  not  always  follow 

The  whims  of  a  foolish  mind. 

282 


Analyses 

I  would  it  had  run  yet  faster 

On  many  a  bygone  day, 
I  would  it  had  often  gone  slower, 

Nor  wasted  the  time  away. 

And  tho '  it  would  sometimes  falter, 

As  if  to  run  down  it  were  fain, 
Its  gen  'rous  Maker  always 

Would  carefully  wind  it  again. 

But  should  it  e  'er  run  no  longer, 

Its  day  would  then  be  o'er; 
None  other  but  Him  who  made  it, 

Could  set  it  going  once  more. 

Then  I  to  the  Maker  must  hie  me, 

How  far,  no  mortal  can  say, 
Beyond  Creation 's  beginning, 

Far  off  in  an  endless  day! 

And  there,  as  a  grateful  child  might, 

I  '11  give  my  Father  His  own : 
' '  See,  Lord,  I  did  not  spoil  it, 

'Tis  only  all  run  down. ' ' 

Copy't  1903,  by  G.  Schirmer. 

[Lesson  XIV,  Course  II.] 

16159     Ein'  feste  Burg     (A  Mighty  Fortress)  Luther 

Martin  Luther  (1483-1546)  wrote  this  great  German  Chorale 
while  a  prisoner  in  the  Wartburg  Castle  in  Eisenach.  It  is  said  that 
it  was  first  sung  by  his  followers  when  they  made  the  triumphal 
entry  into  Worms,  and  from  that  day  its  popularity  was  amazing. 
It  was  the  battle  hymn  of  the  soldiers  under  Gustavus  Adolphus, 
who  often  sang  the  hymn  during  the  fight.  Luther  was  contemporan- 
eous with  Josquin  des  Pres,  of  the  second  period  of  the  Netherland 
School.     [Lesson  XIX,  Course  I.  ] 

60053     Woodland  Sketches  MacDowell 

(1)  At  an  Old  Trysting  Place     (2)  To  a  Wild  Rose 

Of  all  MacDowell 's  compositions,  none  have  been  more  universally 
popular  than  the  series  of  short  pianoforte  pieces,  entitled  "Woodland 
Sketches."  These  two  numbers  belong  to  this  group  of  composi- 
tions. Both  of  these  selections  are  of  the  class  of  music  which 
reflects  poetic  thought,  for  although  bearing  titles,  these  selections 
leave  much  to  the  imagination  of  the  auditor.  [Lesson  XXIX, 
Course  II.] 

283 


Analyses 

60074     Intermezzo     ("  Cavalleria  Rusticana ")  Mascagni 

No  single  operatic  selection  has  ever  won  such  universal  popu- 
larity as  has  the  famous  Intermezzo,  from  Mascagni 's  "Cavalleria 
Rusticana."  This  short  one  act  opera  is  divided  into  two  parts, 
and  between  these  two  scenes  of  tragedy  and  horror  is  introduced  this 
musical  message  of  peace,  breathing  an  air  of  simplicity  and  holy 
love.  Dramatically,  it  does  not  fit  the  opera,  save  to  bring  into  con- 
trast the  scenes  of  tragic  turmoil,  but  played  as  a  concert  number,  it 
has  made  its  composer  famous.  [Lesson  XXVI,  Course  II;  Lesson  I, 
Course  III;  Lesson  I,  Course  IV.] 

87072     Siciliana     ("Cavalleria  Rusticana ")  Mascagni 

This  beautiful  aria  is,  in  reality,  a  part  of  the  Prelude  to 
Mascagni 's  opera  "Cavalleria  Rusticana."  The  opening  measures 
of  the  introduction  are  played  by  the  orchestra;  then  to  the  harp 
accompaniment  the  voice  of  Turiddu  (tenor)  is  heard  behind  the 
scenes  singing: 

O  Lola,  with  thy  lips  like  crimson  berries, 

Eyes  with  the  glow  of  love  deepening  in  them. 
Cheeks  with  the  hue  of  wild,  blossoming  cherries, 
Fortunate  he  who  first  finds  favor  to  win  them ; 

Yet,  tho'  I  died  and  found  Heav'n  on  me  beaming 
Wert  thou  not  there  to  greet  me,  grief  T  should  cherish ! 

Copy't  1891,  G.  Schirmer. 

[Lesson  XXIV,  Course  IV.} 
l™l\\     Elegie  Massenet 

In  1873  Jules  Massenet  wrote  the  incidental  music  for  Leconte 
de  Lisle 's  antique  drama,  "Les  Erinnyes";  although  the  drama  was 
not  a  success,  much  of  Massenet's  music  was  so  popular  that  he  was 
urged  to  arrange  it  in  the  form  of  a  suite  for  orchestra.  The  theme 
of  the  Invocation,  which  was  played  by  the  violoncello  as  Electra 
poured  the  libations  on  her  father's  tomb,  was  so  beautiful  that 
Massenet  used  it  as  the  melodic  material  for  the  famous  song. 
"Elegie." 

The  blooming  spring  days  of  yore, 
Have  left  me  for  aye, 
No  more  shall  the  skies  smile  for  me. 
My  loved  one  is  far  away. 

The  birds  no  longer  sing — 
The  sun  is  dark  as  the  grave, 
All  the  delight  of  my  life  is  gone. 
Dead   is  my  heart   for  evermore! 

[Lesson  IX,  Course  TIL] 


Analyses 

88153     Aria — Fleeting  Vision     ("  Herodiade  ")  Massenet 

Massenet's  version  of  the  story  of  Salome  and  John  the  Baptist 
is  very  different  from  that  of  Richard  Strauss.  A  French  version 
of  the  story  is  here  used,  and  we  find  Salome,  not  knowing  of  her 
parentage,  coming  to  Jerusalem  in  search  of  her  mother,  in  the  train 
of  the  prophet,  whom  she  has  learned  to  love  in  the  desert.  The  King, 
Herod,  sees  her  and  falls  captive  to  her  beauty,  but  she  repulses  him, 
and  to  punish  her  Herod  orders  the  death  of  John.  Herodias  discovers 
in  Salome  her  long-lost  daughter,  but  it  is  too  late  to  save  the  life  of 
John,  and,  as  the  prophet's  head  is  brought  in,  Salome  pierces  her 
heart  with  a  dagger. 

This  aria  is  sung  by  King  Herod  in  the  second  act.  He  has 
surrounded  himself  with  his  dancers,  and  has  tried  in  vain  to  forget 
the  wonderful  beauty  of  Salome,  which  ever  seems  to  haunt  him  as  a 
vision.     [Lesson  XXVII,  Course  IV.] 

74123     Legende  de  la  Sauge     ("Jongleur  de  Notre  Dame")  Massenet 

This  beautiful  aria  occurs  in  the  second  act  of  the  mystical 
opera,  "The  Jongleur  of  Notre  Dame."  The  scene  is  the  study  of 
the  Abbey,  and  the  monks  have  been  discussing  the  merits  of  their 
relative  arts.  After  they  have  gone  into  the  chapel,  Jean  sadly  ex- 
claims, "And  I  alone  have  nothing  to  offer  Mary."  The  cook,  Boni- 
face, then  tells  him  the  legend  of  the  sage  bush,  a  mediaeval  story, 
which  Massenet  has  here  set  to  an  old  folk  song. 

The  tale  ran  that  Mary,  fleeing  from  the  vengeance  of  Herod,  sought  to  hide 
the  holy  babe.  She  appealed  to  a  rosebush  to  open  wide  its  petals  and  shield  her 
son,  but  the  rose  declined  to  thus  soil  her  dress.  A  humble  sagebush  was  more 
kind,  and  formed  a  safe  cradle  wherein  to  hide  the  child  Jesus,  and  so  was  blessed 
by  Mary. 

[Lesson  XXVII,  Course  IV.] 

74135     Meditation     ("Thai's")  Massenet 

Massenet's  opera,  "Thai's,"  is  a  quasi-religious  portrayal  of  the 
conversion  of  the  courtesan  Thai's,  of  Alexandria,  by  a  fanatic  monk 
of  the  desert,  Athanael.  The  story  is  taken  from  Anatole  France's 
romance  of  the  same  name.  This  beautiful  violin  solo  with  orchestra, 
called  the  "Religious  Meditation,"  takes  place  as  an  intermezzo  be- 
tween the  third  and  fourth  scenes  of  the  opera.  Athanael  has  told 
Thai's  in  the  third  scene,  which  takes  place  in  her  house,  that  he 
will  await  her  coming  on  her  doorstep  all  through  the  nigbt.     This 

285 


Analyses 

music  is  supposedly  descriptive  of  the  conflict  in  the  soul  of  the 
woman  who  gives  up  the  god  of  love  for  the  love  of  God.  [Lesson  XXI, 
Course  II;  Lesson  III,  Course  III;  Lesson  XXVII,  Course  IV.] 

17178     Farewell  to  the  Forest  Mendelssohn 

This  beautiful  arrangement  of  Mendelssohn's  "Farewell  to  the 
Forest"  gives  us  an  excellent  chance  of  comparing  the  tone  coloring 
of  the  instruments  which  comprise  the  brass  choir.  [Lesson  XVIII, 
Course  III.] 

74088     If  With  All  Your  Hearts     ("Elijah")  Mendelssohn 

"Elijah,"  which  is  considered  to  be  the  greatest  oratorio  Mendels- 
sohn wrote,  was  originally  intended  as  the  first  of  a  series  of  three 
works,  "Elijah,"  "Christus"  and  "St.  Paul."  The  "Christus" 
was  left  unfinished  at  the  time  of  the  composer's  death. 

This  great  aria  for  contralto,  is  one  of  the  favorite  selections  from 
oratorio.  The  people  have  been  weeping  and  questioning  the  power  of 
God.    The  voice  of  Obadiah  is  heard. 

Recitative: 

Ye  people  rend  your  hearts  and  not  your  garments;  for  your  transgressions 
the  Prophet  Elijah  hath  sealed  the  heavens,  through  the  word  of  God.  I  therefore 
say  to  ye,  Forsake  your  idols,  return  to  God,  for  He  is  slow  to  anger  and  merciful, 
and  kind,  and  gracious,  and  repenteth  Him  of  the  evil. 

Aria: 

' '  If  with  all  your  hearts  ye  truly  seek  me, 
Ye  shall  ever  truly  find  me," 
Thus  saith  our  God. 

Oh  that  I  knew  where  I  might  find  Him, 
That  I  might  come  before  His  presence; 
"If  with  all  your  hearts  ye  truly  seek  me, 
Ye  shall  ever  truly  find  me, ' ' 
Thus  saith  our  God. 

[Lesson  IX,  Course  IV.] 

74082     It  is  Enough     ("Elijah")  Mendelssohn 

Elijah's  great  aria,  considered  to  be  the  finest  baritone  aria,  since 

the   time   of   Handel,    occurs   in   the   second   part   of   Mendelssohn's 

oratorio  ' '  Elijah. ' ' 

It  is  enough,  O  Lord.  Now  take  away  my  life,  for  I  am  not  better  than 
my  fathers !  I  desire  to  live  no  longer ;  now  let  me  die,  for  my  days  are  but  vanity ! 
I  have  been  very  zealous  for  the  Lord  God  of  Hosts!  for  the  children  of  Israel 
have  broken  Thy  covenant,  thrown  down  Thy  altars,  and  slain  Thy  prophets  with 
the  sword ;  and  I,  even  I  only,  am  left,  and  they  seek  my  life  to  take  it  away. 

[Lesson  IX,  Course  IV.] 

286 


Analyses 

88191  But  the  Lord  is  Mindful  of  His  Own  ("St.  Paul  ")  Mendelssohn 
This  great  aria  for  contralto  is  one  of  the  favorite  oratorio 
selections  which  finds  its  way  to  our  concert  stage.  In  its  original 
setting  it  occurs  in  the  first  part  of  the  oratorio  "St.  Paul,"  which 
is  the  first  work  in  this  form  which  Mendelssohn  gave  to  the  world. 
After  the  martyrdom  of  St.  Stephen,  Saul  appears  "breathing  out 
threatenings  and  slaughter"  against  all  the  Apostles.  His  aria  is 
followed  by  the  voice  of  comfort  from  the  contralto. 
Eecitative  : 

And  he  journeyed  with  companions  toward  Damascus,  and  had  authority 
from  the  High  Priest  that  he  should  bring  them  bound  men  and  women  unto 
Jerusalem. 

Aria.: 

But  the  Lord  is  mindful  of  His  own, 

He  remembers  His  children; 

Bow  down  before  Him  ye  mighty 

For  the  Lord  is  near  us. 

Yea  the  Lord  is  mindful  of  His  own, 

He  remembers  His  children. 

[Lesson  IV,  Course  I;  Lesson  IX,  Course  IV.] 

31819     Overture     ("A  Midsummer  Night's  Dream")  Mendelssohn 

Although  Mendelssohn  never  wrote  an  opera,  his  music  to  Shake- 
speare's comedy,  "A  Midsummer  Night's  Dream,"  would  be  sufficient 
to  give  him  a  high  place  among  dramatic  composers.  The  overture 
was  written  for  a  performance  of  Shakespeare's  comedy,  which  was 
given  by  the  Mendelssohn  family,  when  the  composer  was  but  seven- 
teen years  old.  Seventeen  years  later  the  remainder  of  the  incidental 
music  was  written.  In  its  truest  sense,  this  overture  belongs  to 
the  style  of  Concert  Overtures  which  Mendelssohn  later  gave  to  the 
world,  for  here  all  the  elements  of  fairyland  are  to  be  found  in  the 
music.    Frederick  Weiks  thus  describes  this  work : 

"The  sustained  chords  of  the  wind  instruments  with  which  the 
overture  opens  are  the  magic  formula  that  opens  to  us  the  realms 
of  fairyland.  The  busy  tripping  first  subject  tells  us  of  the  fairies; 
the  broader  and  more  dignified  theme  which  follows,  of  Duke  Theseus 
and  his  retinue;  the  passionate  second  subject  of  the  romantic  lovers, 
while  the  clownish  second  part  pictures  the  tradesmen,  and  the  bray- 
ing reminds  us  of  Bottom  as  the  ass.  The  development  is  full  of 
bustle  and  the  play  of  the  elves.  In  conclusion,  we  have  once  more 
the  magic  formula,  which  now  dissolves  the  dream  it  before  con- 
jured up."  [Lesson  XV,  Course  II;  Lesson  I,  Course  III;  Lesson 
XXVIII,  Course  III.] 

287 


Analyses 

35159     Spinning  Song  Mendelssohn 

This  Spinning  Song  is  an  excellent  example  of  the  song  form, 
and  also  of  a  descriptive  piece  of  program  music,  in  which  the  accom- 
paniment is  imitative  of  the  busily  whirring  spinning  wheel. 

This  composition  is  No.  4,  Op.  67,  of  the  "Songs  Without  Words," 
by  Mendelssohn.     [Lesson  III,  Course  I;  Lesson  VIII,  Course  III.] 

742851  SPrinS  Song  Mendelssohn 

This  popular  short  composition  is  the  last  work  in  Book  V,  of 
Mendelssohn's  "Songs  Without  Words."  These  short  compositions 
for  pianoforte  were  Mendelssohn 's  expression  of  the  romantic  use 
of  the  principle  of  poetic  thought.  Although  these  works  bear  titles 
and  are,  in  a  certain  sense,  programmatic,  in  that  they  have  imitative 
effects  freely  employed,  they  are  not  in  the  modern  sense  "Program 
Music."  In  form  this  composition  follows  the  regular  song  pattern. 
[Lesson  XV,  Course  II;  Lesson  III,  Course  III;  Lesson  X,  Course  III.] 

5864     O  Wert  Thou  in  the  Cauld  Blast  Mendelssohn 

This  charming  duet  for  soprano  and  alto  is  an  excellent  example 
of  Mendelssohn's  knowledge  of  the  tone  quality  of  women's  voices, 
and  also  of  a  very  interesting  use  of  a  Scotch  song.  Beethoven  in- 
corporated many  Scotch  airs  in  his  songs,  and  employed  the  Irish 
folk  song,  "Nora  Creina,"  as  the  Finale  of  his  seventh  Symphony. 
Mendelssohn  greatly  admired  the  Scotch  music,  and  on  his  trips  to 
the  British  Isles  was  very  much  interested  in  collecting  it.  We  here 
have  an  excellent  example  of  its  use  by  him,  in  this  setting  of  the  poem 
by  Robert  Burns.     [Lesson  VI,  Course  I.] 

70068    Marche     ("L'Africaine ")  Meyerbeer 

"L'Africaine"  was  Meyerbeer's  last  work  and  was  not  produced 
until  two  years  after  the  death  of  the  composer.  It  is  a  very  ex- 
travagant melodrama,  the  music  being  typical  of  the  French  Grand 
Opera  School.  This  Marche  Indienne  is  based  on  an  Oriental  theme 
and  is  an  excellent  example  of  Meyerbeer's  exaggerated  instrumenta- 
tion.    [Lesson  XXIII,  Course  III;  Lesson  XII,  Course  IV.] 

31381     Fackeltanz  Meyerbeer 

The  Fackeltanz  (March  aux  Flambeaux)  is  a  torchlight  proces- 
sion, which  has  survived  from  the  old  medieval  tournaments,  and  is 
still  used  in  Germany  on  the  occasion  of  the  marriage  of  members 
of  the  royal  family.     The  procession  marches  around  the  hall  and 

288 


Analyses 

passes  through  many  interesting  ceremonies  during  the  playing  of 
the  March,  which,  in  character,  is  similar  to  that  of  the  Polonaise. 
Meyerbeer  wrote  four  of  these  compositions,  the  first  being  composed 
for  the  marriage  of  the  King  of  Bavaria,  in  1846.  [Lesson  XXII, 
Course  III.] 

85107     Nobil  Signori  Salute !    (Noble  Sirs,  I  Salute  You) 

("  Les  Huguenots  ") 

The  beautiful  page's  song  occurs  in  the  first  act  of  Meyerbeer's 

"Les  Huguenots."     Originally  the  composer  intended  this  air  for 

soprano,  but  it  is  always  sung  by  the  contralto  voice.    It  is  a  favorite 

concert  selection,   as   it   gives  the   contralto   a   rare   opportunity   for 

coloratura  display. 

Urbano : 

A  most  charming  noble  lady, 
Whom  with  envy  kings  might  view, 
With  a  message  here  has  charged  me, 
Cavaliers,  cavaliers,  to  one  of  you. 
I  do  not  name  him ;  but  honor  be 
Unto  the  good  knight,  whoe'er  he  be! 
And  until  now,  sirs,  there  ne'er  hath  been 
Mortal  so  favor  'd  by  beauty 's  queen ! 

[Lesson  XII,  Course  IV.] 
45007     Romanza     ("Les  Huguenots ")  Meyerbeer 

The  opera  "Les  Huguenots"  is  rightly  regarded  as  Meyerbeer's 
masterpiece.  The  work  is  of  semi-historical  significance,  as  it  dis- 
closes a  story  of  the  period  of  the  Huguenot  massacre  in  Paris,  in 
1572.  This  beautiful  tenor  aria  is  one  of  the  gems  of  the  opera.  It 
occurs  in  the  first  act,  the  scene  of  which  takes  place  in  the  apartment 
of  the  Count  de  Nevers.  Raoul  de  Nangis  tells  the  story  of  a  fair 
one  whom  he  rescued  in  an  encounter.  Note  the  use  of  the  viola  as  an 
obbligata  instrument. 

Raoul : 

Fairer  far  e  'en  than  fairest  lily, 

Than  spring  morn  more  pure  and  more  lovely  and  bright, 

An  angel  of  Heaven  born  beauty 

Burst  upon  my  ravish  'd  sight, 

Sweetly  she  smiled  as  I  stood  by  her  side, 

Sighing  the  love  which  e'en  her  tongue  to  speak  denied; 

And  in  her  eyes  the  love-light  gleamed, 

Bidding  me  hope  her  love  to  gain. 

Oh !  she  was  charming  past  all  expression ! 

And  as  before  her  form  divine  I  bent  my  knee, 

T  faltered  forth,  "Fair  angel,  that  cometh  from  Heav'n  above, 

For  evermore  shall  I  love  none  but  thee !  ' ' 

[Lesson  IX,  Course  III ;  Lesson  XII,  Course  IV.] 

289 


Analyses 

7i275     Benediction  of  the  Swords      (Les  Huguenots)  Meyerbeer 

One  of  the  greatest  concerted  numbers  for  basso  and  chorus  is 
the  famous  Benediction  of  the  Swords,  from  Meyerbeer's  "Les 
Huguenots."  The  selection  occurs  in  the  fourth  act,  in  a  room  in 
the  home  of  Count  de  Nevers.  Valentine  is  surprised  by  the  arrival 
of  her  lover,  Raoul,  but  he  is  forced  to  hide  behind  some  tapestries, 
on  the  arrival  of  several  Catholic  noblemen,  who  come  to  acquaint 
the  Count  with  the  details  of  the  plot  of  St.  Nevers  for  the  St. 
Bartholomew  Massacre.  The  conference  is  brought  to  its  conclusion 
with  the  thrilling  consecration  of  the  swords,  sung  by  St.  Bris  and  the 
conspirators. 

St.  Bris: 

Do  you  wish  our  dear  country  to  save? 

Monks  and  Nobles: 

It  is  our  wish!   our  heart's  desire! 

St.  Bris: 

To  serve  our  noble  King, 
Will  ye  the  traitors  destroy? 

Monks  and  Nobles: 

The  King's  commands  we  will  obey! 

St.  Bris: 

'Tis  well !  now  hear  the  King 's  decree : 

These  Huguenots,  whose  vile  detested  race  we  hate, 

Shall  from  this  day  by  the  sword  disappear! 

St.  Bris: 

On  Heaven's  just  cause  relying, 

This  impious  race  defying, 

'Mid  thousands  round  thee  dying, 

Now  swear  that  no  mercy  thou 'It  show! 

A  sacred  zeal  inspiring; 

All  hearts  with  courage  firing, 

To  compass  Heav'n's  desiring, 

Now  for  vengeance  we  go ! 

(Then  comes  the  furious  and  fanatical  chorus  of  priests  and  lords,  one  of 
the  most  difficult  of  ensembles.) 

All: 

Strike  them  down,  men  and  children  all ! 
And  let  no  mercy  ever  be  shown! 
By  the  sword  they  shall  perish. 
And  their  temples  be  o'erthrown! 

St.  Bris: 

Be  silent,  my  friends,  and  breatlie  not  e'en  a  murmur 
To  wake  our  slumb  'ring  foe ! 

290 


Analyses 


All: 

Whisper  low,  not  a  word, 

Not  a  breath  or  sign  revealing,  while  we,  silenl  stealing, 

Strike  the  impious  foe! 

{With  fury.) 

Now  for  vengeance !  we  will  go ! 

[Lesson  XVII,  Course  II;  Lesson  I,  Course  IV; 
Lesson  XII,  Course  IV.] 

88187     Aria— Ah!     Mon  Fils     ("  Le  Prophete")  Meyerbeer 

"Le  Prophete"  was  produced  in  Paris,  in  1849,  thirteen  years 
after  its  predecessor,  "Les  Huguenots." 

The  scene  of  the  opera  is  laid  in  Holland,  in  1534;  the  story  is 
of  John  of  Leyden.  This  great  aria  for  contralto  takes  place  in  the 
second  act  and  is  sung  by  Fides  to  John,  following  the  scene  where 
he  is  obliged  to  give  up  his  betrothed,  Bertha,  in  order  to  save  his 
mother's  life. 

Fides : 

Ah,  my  son !     Blessed  be  thou ! 

Thy  loving  mother  to  thee  was  dearer 

Than  was  Bertha,  who  claimed  thy  heart ! 

Ah,  my  son !     For  thou,  alas, 

Thou  dost  give  for  thy  mother  more  than  life, 

For  thou  giv'st  all  the  joy  of  thy  soul! 

Ah,  my  son!  now  to  heav'n  my  prayer  ascends  for  thee; 

My  son,  blessed  be  forever  more! 

[Lesson  XII,  Course  IV.] 

17106     Thy  Flow'ry  Banks,  O  Lovely  River  Meyerbeer 

This  charming  trio  set  to  the  melody  by  Meyerbeer  gives  us  a 
good  opportunity  to  contrast  the  tone  quality  of  women's  voices, 
when  heard  in  trio  form.     [Lesson  VI,  Course  I.] 

17176     Summertime  Minnesinger 

The  Minnesingers  flourished  in  Germany  from  the  late  eleventh 
to  the  thirteenth  century.  The  name  is  derived  from  the  old  German 
word  M  in  tie,  meaning  love,  hence  the  singers  of  love  were  known  as 
Minnesingers. 

These  men  belonged  to  the  nobility,  and  came  from  all  parts  of 
the  kingdom  for  their  annual  contests  of  song,  which  were  held  for 
many  years  in  tbe  famous  Minstrel  Hall  of  the  Wartburg  Castle,  in 
Eisenach.  It  is  this  contest  which  Wagner  has  made  immortal  in 
' '  Tannhauser. ' ' 

291 


Analyses 

This  song  is  attributed  to  Neidhart  von  Reuenthal,  a  famous  Min- 
nesinger of  the  thirteenth  century. 

Welcome    lovely    summertime 

\\  ith  thy  wealth  of  happy  flowers 
Which   light-footed   May    lias   brought 

So  swiftly   through  the  hours. 

Copy 't,  Oliver  Ditson  &  Co. 

[Lesson  I,  Course  II;  Lesson  V,  Course  II. \ 

70029     Concerto  for  Harp  and  Flute  Mozart 

An  excellent  opportunity  for  studying  the  tone  quality  of  the 
flute  is  afforded  by  this  concerto  for  harp  and  flute  by  Mozart. 

[Lesson  XIV,  Course  III.] 

31589     Gloria     ("Twelfth  Mass")  Mozart 

Mozart  wrote  in  all  fifteen  masses  for  the  Catholic  Church  service. 
The  Gloria  occurs  in  the  mass  at  the  end  of  the  Kyrie,  and  in  the 
hymn  "Gloria  in  Excelsis,"  which  was  probably  of  eastern  origin, 
although  it  has  been  in  the  Western  Roman  Church  since  the  early 
days.     [Lesson  VI,  Course  IV.] 

89015     La  ci  darem  la  mano     (Thy  Little  Hand)     ("  Don  Giovanni  ") 

Mozart 

The  charm  and  grace  of  Mozart's  melody  is  well  illustrated  in 

this  beautiful  duet,  sung  by  the  Spanish  Don  and  Zarlina,  in  the 

first  act  of  Mozart's  opera,  "Don  Giovanni."    This  is  one  of  the  best 

examples  of  dialogue  duet  to  be  found  in  all  operatic  literature. 

Don  Giovanni: 

Nay,  bid  me  not  resign,  love,  coldly  the  hand  I  press, 

Oh !  say  thou  wilt  be  mine,  love,  breathe  but  that  one  word  ' '  yes. ' ' 

Zerlina  : 

I  would  and  yet  I  would  not,  I  feel  my  heart  misgive, 

Should  'st  thou  prove  false,  I  could  not  become  thy  scorn  and  live. 

Don  Giovanni: 

Come  then,  oh,  come  then,  dearest. 

Zerlina  : 

Yet  should  thy  fondness  alter. 

Don  Giovanni: 

Nay,  love,  in  vain  thou  fearest. 

Both: 

Yes,  hand  and  heart  uniting,  each  other's  cause  requiting, 
Our  joy  no  bounds  shall  know! 

[Lesson  V,  Course  IV.] 
17087     Minuet  Mozart 

No  composer  ever  wrote  more  perfect  examples  of  the  minuet 
than  did  Mozart,  and  this  minuet  from  "Don  Giovanni"  is  consid- 

292 


Analyses 

ered  his  best.  Although  he  used  the  form  of  his  master,  Haydn, 
Mozart's  minuets  are  a  much  more  faithful  reproduction  of  the  stately 
court  dance  than  are  the  rollicking  minuets  of  good  "Papa"  Haydn. 
With  Mozart,  all  the  tenderness,  and  grace  and  charm  of  court  life 
is  felt,  in  contra-distinction  to  the  homely  gaiety  of  the  common  folk 
as  reflected  in  Haydn's  minuets.     [Lesson  XII,  Course  II.] 

85042     Invocation     ("The  Magic  Flute")  Mozart 

"The  Magic  Flute"  was  the  last  opera  of  Mozart's  to  be  pro- 
duced. It  is  the  most  extraordinary  work  that  has  ever  been  given 
to  the  world,  for  although  set  to  a  libretto,  which  is  absolutely 
ludicrous,  the  beauty  of  the  music  has  caused  this  opera  to  be  re- 
garded as  one  of  Mozart's  finest  musical  achievements. 

This  Invocation  occurs  at  the  opening  of  the  second  act;  the 
scene  shows  us  the  abode  of  Sarastro,  the  High  Priest  of  Isis,  and  we 
hear  his  voice  as  he  invokes  her  aid  in  one  of  the  greatest  basso  arias 
ever  written. 

Great  Isis,  great  Osirus ! 

Strengthen  with  wisdom's  strength  this  tyro  pair; 
Ye  who  guide  steps  where  deserts  lengthen 

Brace  theirs  with  nerve,  your  proof  to  bear ! 
Grant  them  probation's  fruit  all  living; 
Yet,  should  they  find  a  grave  while  striving. 

Think  on  their  virtues,  gracious  gods, 

Take  them  elect  to  your  abodes! 

[Lesson  V,  Course  IV.] 

64163     A  Bird  Catcher  Am  I     ("  The  Magic  Flute  ")  Mozart 

Of  all  the  characters  of  opera,  not  one  is  more  amusing  than 
the  part  of  Papageno,  the  bird-catcher,  in  Mozart's  "Magic  Flute." 
This  part  was  created  by  Schickaneder,  who  wrote  the  absurd  libretto 
of  this  opera,  to  give  himself  a  chance  to  show  his  buffoonery.  This 
aria  occurs  in  the  first  act.  Papageno  appears  with  a  large  bird  cage, 
birds  on  his  back  and  birds  on  his  shoulders.  He  holds  in  his  hands 
a  Pan's  pipe,  on  which  he  plays: 

Papageno : 

The  fowler  comes,  in  spite  of  rain, 
And  sings  his  song  in  merry  strain ; 
This  merry  fowler,  too,  is  known 
By  young  and  old,  from  zone  to  zone. 
Knows  how  to  whistle  every  sound 
That  bird  may  sing  the  whole  year  round. 
Oh,  none  can  be  more  blithe  than  I, 
With  these  sweet  warblers  of  the  sky. 

293 


Analyses 


The  fowler  conies,  in  spite  of  rain, 
And  sings  his  song  in  merry  strain, 
This  merry  fowler,  too,  is  know  n 
By  young  and  old,  from  zone  to  zone. 
A  net  for  maidens  I  should  like 
Would  catch  the  pretty  dears  by  dozens, 
I  'd  shut  them  safely  up  at  home, 
And  never  let  them  forth  to  roam. 

[Lesson  V,  Course  IV.] 

88067     Voi  che  sapete  (What  is  this  Feeling?)    ("Marriage  of  Figaro") 

Mozart 

The  page's  song  from  Mozart's  charming  "Marriage  of  Figaro" 
has  ever  been  a  popular  concert  number.  In  its  actual  dramatic  set- 
ting it  is  sung  by  Cherubino,  the  page,  to  the  Countess,  in  the  first 
act  of  the  opera.  Notice  should  be  taken  of  the  fact  that  Mozart  has 
here  employed  the  simple  ballad  form,  while  the  accompaniment  on 
the  strings  pizzicato,  is  in  imitation  of  the  guitar. 

Cherubino  : 

What  is  this  feeling  makes  me  so  sad? 
What  is  this  feeling  makes  me  so  glad? 
Pain  that  delights  me, — How  can  it  be? 
Pleasure  that  pains  me: — 
Fetter  'd  though  free ! 
Whence,  too,  these  yearnings, 
Strange  to  myself? 
Tell  me  their  meaning,  spirit  or  elf! 

Why  am  I  burning?    Why  do  I  freeze? 
Eestless  forever,  never  at  ease. 
All  is  so  altered,  nothing  at  rest, 
Or  are  these  changes  but  in  my  breast? 
Gentler  the  breezes,  day  is  more  bright ; 
Fairer  the  moonbeams  shine  on  the  night: 
Greener  the  forest,  greener  the  hill, 
Soft,  too,  the  music  flows  from  each  rill. 

[Lesson  XII,  Course  II;  Lesson  V,  Course  IV.] 
88196     Aria    ("Titus")  Mozart 

"La  Clemenza  di  Tito"  was  the  last  opera  by  Mozart,  being 
written  after  "The  Magic  Flute,"  although  it  was  produced  before 
that  work  was  heard.  In  "Titus,"  Mozart  returned  to  the  Opera 
Seria  form,  with  the  result  that  even  his  great  melodic  genius  was  not 
sufficient  to  secure  any  success  for  a  work,  which  in  form  and  method, 
seems  to  be  the  first  work  of  a  budding  genius  rather  than  the  finished 
composition  of  a  mature  mind.  The  story  deals  with  the  plots  against 
the  Emperor  Titus  by  Vitellia,  the  daughter  of  the  deposed  Vitellius. 
The  lover  of  Vitellia  is  Sextus,  who,  although  the  friend  of  the  Em- 
peror, is  persuaded  to  set  fire  to  the  Capitol.  The  Emperor  makes  a 

294 


Analyses 

miraculous  grand  opera  escape,  pardons  the  plotters  and  makes 
Vitellia  his  Empress.  This  aria  is  sung  by  Vitellia  in  the  second  act 
of  the  opera. 

Recitative  : 

The  hour  has  come  which  sees  my  great  trial.  Have  I  the  courage  to  see 
the  death  of  one  who  has  sacrificed  all  for  me? 

Air: 

My  life  shall  no  more  be  strewn  with  roses, 
For  Hymen  may  never  guide  me  to  joy. 
The  dungeon  stretches  before  me, 
And  the  terrors  of  death  I  see, 
I  know  not  what  shall  befall  me, 
I  beg  for  pity  from  God  on  high. 

[Lesson  XII,  Course  II.] 

16882     Santa  Lucia  Neapolitan  Song 

This  beautiful  boat  song,  or  barcarolle,  was  probably  intended 
to  illustrate  the  rise  and  fall  of  the  boat  on  the  water,  and  the  regular 
strokes  of  the  oar.  The  sequence  of  the  two-measure  phrases  produces 
a  monotonous  effect,  suggestive  of  the  forward  and  backward  sweep 
of  the  oars.  Santa  Lucia  (St.  Lucy)  is  the  Patron  Saint  of  the  Nea- 
politans.    [Lesson  XVI,  Course  I.] 

64102     Little  Boy  Blue  Nevin 

One  of  the  most  popular  children's  songs  which  has  ever  been 
written  is  Ethelbert  Nevin 's  setting  of  "Little  Boy  Blue."  The 
composer  has  reflected  in  his  music  all  the  pathos  of  this  poem,  which 
was  written  by  Eugene  Field  after  the  death  of  his  own  "Little  Boy 
Blue. ' '     [Lesson  XXIX,  Course  II.  ] 

35270     Overture     ("  Merry  Wives  of  Windsor  ")  Nicolai 

Carl  Otto  Nicolai  (1810-1849)  was  originally  educated  as  a 
pianist  and  organist,  but  during  his  study  in  Rome  became  inter- 
ested in  the  writing  of  operas,  and  his  name  is  chiefly  associated  with 
the  Romantic  German  Opera  School.  His  masterpiece  was  "The 
Merry  Wives  of  Windsor,"  which  appeared  in  Berlin,  March  9, 
1849.  It  is  an  adaptation  of  Shakespeare's  comedy  of  the  same  name. 
The  overture  still  retains  its  popular  hold  on  the  public.  It  is  a 
brilliant  movement  in  the  potpourri  form,  and  well  reflects  the  jovial 
gaiety  of  Nicolai 's  musical  portrayal  of  the  "merry  wives"  who 
duped  their  unsuspecting  husbands.  As  one  authority  says:  "This 
work  is  one  of  the  very  few  German  comedy-overtures  which  can  hold 
its  own  with  the  lighter  overtures  of  Auber,  Herold  and  Rossini.     Tt 

295 


Analyses 

has  the  true  comic  opera  touch,  and,  as  a  piece  of  workmanship,  is 
far  more  elaborate  than  theirs."     [Lesson  XVIII,  Course  IV.] 

64161     Nightingale  Song — A  Captive  Nightingale 

This  remarkable  record  is  the  actual  song  of  a  captive  nightingale. 
It  is  of  particular  interest  in  relation  to  the  musical  imitations 
written  by  all  the  great  composers.     [Lesson  XI,  Course  I.] 

17160     Mountain  March  Norwegian 

The  student  of  Norwegian  music  will  find  a  great  difference  in 
the  music  of  the  mountainous  regions  and  that  of  the  valley.  The 
Norwegian  folk  tunes  have  been  less  affected  by  outside  conditions 
than  have  those  of  Sweden,  and  they  are  always  distinguishable  by 
a  rhythmic  and  melodic  irregularity,  which  is  suggestive  of  the 
energetic  step  of  the  peasant  in  his  rough  dances.  [Lesson  XXIV, 
Course  I.] 

a^is/  (a)  A  Ola  0la  Norwegian  Folk  Song 

0,3018  \  (b)  Astri,  Mi  Astri  Norwegian  Folk  Song 

These  two  Norwegian  folk  songs  show  the  characteristic  sadness 
which  prevails  in  all  the  melodies  of  Norway.  Even  in  the  attempt 
to  be  gay  in  the  dialogue  song,  "Astri,  My  Astri,"  the  darkness  of 
coloring  is  noticeable.  Tennyson  most  truly  expressed  this  char- 
acteristic when  he  said :    ' '  Dark  and  true  and  tender  is  the  North. ' ' 

A-OLA  OLA! 
Oh,  Ole,  Ole,  I  loved  you  dearly, 
But  you  have  dealt  with  me  insincerely. 
I  did  not  think  you  would  let  your  tongue 
Be  false  to  me,  whom  you  saw  was  young. 

ASTRI!     MI  ASTRI. 
Dialogue  Song. 
Sverning: 

Astri !  my  Astri !  your  heart  mine  alone  was 

In  those  old  days  of  joy  and  delight; 
You  always  wept  when  our  eventide  flown  was, 

Tho'  we  did  meet  each  Saturday  night. 
Then  'twas  my  heart,  Astri,  you  stole  from  me. 
Happier  I  was  than  princes  can  be. 
Astri  : 

Ah,  you  did,  Astri,  then  love,  and  her  only, 

That  was  ere  Svanaug  you  cared  so  to  see ; 
I  knew  not  then  what  it  was  to  be  lonely, 

For  every  week  you  did  hasten  to  me. 
With  no  fine  lady  to  change  would  I  choose; 
In  those  old  days  if  I  you  must  thus  lose. 
********** 

Sverning : 

What  if  I,  Svanaug,  to  leave  should  endeavor; 
What  if  I  put  her  quite  out  of  my  mind; 

296 


Analyses 


And  should  come  back  to  my  Astri  forever, 

And  to  you,  dearest,  should  once  more  be  kind. 
If  I  now  promise  to  you  to  be  true, 
Astri,  my  Astri,  what  answer  have  you? 

Astri  : 

Milder  than  sunshine  o  'er  mountain  tops  glowing 

Torgrim  is  ever,  and  ever  will  be; 
Savage  and  cross  as  a  troll  you  are  growing, 

Falser  than  foam  on  the  waters  to  me. 
But  all  the  same  your  true  maiden  am  I, 
Only  with  you  will  I  live  and  will  die. 

[Lesson  XXIV,  Course  I.] 

^^J  Barcarolle     ("  Tales  of  Hoffman  ")  Offenbach 

Jacques  Offenbach  is  often  called  "the  father  of  modern  Opera 
Buff  a."  Though  of  German  birth,  Offenbach,  like  Meyerbeer,  is  chiefly 
identified  with  the  French  School,  for  all  his  works  were  written  for 
the  Opera  Comique  of  Paris.  His  operas  have  met  with  great  popu- 
larity all  over  the  world,  but  of  his  one  hundred  works  for  the  stage 
none  is  more  beloved  than  "The  Tales  of  Hoffman."  The  ever  popular 
Barcarolle  occurs  at  the  opening  of  the  third  act.  The  scene  discloses 
a  room  in  a  Venetian  palace  and  through  the  open  windows  can  be 
seen  the  canals  bathed  in  the  silvery  moonlight.  The  lovers  sing  to 
the  lilting  measure,  used  by  the  Venetian  gondoliers  and  known  as 
the  Barcarolle,  this  beautiful  duet : 

Beauteous  night,  O  night  of  love, 
Smile   thou    on   our   enchantment; 
Kadiant  night,  with  stars  above, 
O  beauteous  night  of  love! 

Far  away  where  we  may  yearn, 
For   time   doth   ne'er   return. 
Sweet  zephyrs  aglow, 
Shed  on   us   thy  caresses — 
Night  of  love,  O  night  of  love! 
— From  Ditson   Edition — Copyright,    1909. 

[Lesson  VIII,  Course  I ;  Lesson  VIII,  Course  III ; 
Lesson  XVIII,  Course  IV.] 

31618     In  a  Clock  Store  Orth 

This  descriptive  fantasia  is  a  very  interesting  example  of  program 
music.  The  scene  is  laid  in  a  little  shop  in  Germany;  the  time,  four 
o'clock  in  the  early  morning.  The  apprentice  comes  in  and  opens  the 
store ;  we  hear  the  ticking  of  the  clocks,  then  their  tones  as  they  strike 
the  three-quarter  hours;  first  the  cuckoo,  then  the  deep-toned  grand- 

297 


Analyses 

father's  flock.  The  boy  whistles  merrily  as  he  begins  his  work  wind- 
ing the  clocks.  A  musical  clock  plays  ;i  popular  air  on  its  chimes,  then 
(he  hour  strikes  on  all  the  different  clocks.     [  Lesson  X,  Course  I.] 

V)2m     The  Instruments  of  the  Orchestra 

These  two  records  have  been  made  especially  for  this  course  of 
study  and  give  in  a  condensed  form  the  voices  of  the  instruments 
of  the  orchestra.  Part  I  gives  us  "The  Strings,"  the  selections 
being : 

The  Violin — Spring  Song  (Mendelssohn). 

The  Viola— Traumerei  (Schumann). 

The  Violoncello — Flower  Song  (Lange). 

Contra  Bass — Improvisation. 

Violin  Pizzicato — Dream  After  the  Ball  (Brostet). 

String  Quartet — Intermezzo  (Mascagni). 

Harp— The  Harp  That  Once  Thro'  Tara's  Halls. 

Part  II — Wood- Wind. 

The  Piccolo — Yankee  Doodle. 

The  Flute— AVilliam  Tell  Overture  (Rossini). 

The  Oboe — William  Tell  Overture  (Rossini). 

The  English  Horn — Tannhauser  (Wagner). 

The  Clarinet — Zampa  (Herold). 

The  Bassoon — Deep  in  the  Cellar. 

The  Wood-Wind  Section — Lohengrin  (Wagner). 

Part  III — -Brass. 

,The  French  Horn— Titl's  Serenade  (Titl). 
The  Cornet— Red,  White  and  Blue. 

The  Trombone — Rocked  in  the  Cradle  of  the  Deep  (J.  P.  Knight). 
The  Tuba— Rocked  in  the  Cradle  of  the  Deep  (J.  P.  Knight). 
Brass  Quartet — Day  of  the  Lord. 

Part  IV — Percussion. 
The  Timpani   (Kettledrum). 
The  Small  Drum. 
Bells — Monastery  Bells  (Wely). 

The  Entire  Orchestra — Finale  William  Tell  Overture  (Rossini). 
[Lesson  II,  Course  HI;  Lesson  XII,  Course  III; 

Lesson  XVII,  Course  III.] 

17216     Spring  Song  Pinsuti 

Ciro  Pinsuti    (1829-1888)    although  an   Italian  by  birth,   spent 

many  years  in  London,  where  he  was  long  the  teacher  of  singing  in 

the  Royal  Academy.     In  this  capacity  he  was  the  instructor  of  many 

298 


Analyses 

of  the  greatest  singers  the  world  has  ever  known,  among  them  being 
Bosio,  Graziani,  Grisi,  Mario  and  Patti. 

This  selection  is  a  simple  Song  of  Spring;  which  is  here  played 
for  ns  in  an  arrangement  for  brass  quartet.  It  gives  a  splendid 
opportunity  for  hearing  the  staccato  tone  quality  in  the  brasses.  [Les- 
son XV III,  Course  III.} 

63460     Krakowiak  Polish 

A  Polish  dance  song,  which  comes  from  the  country  near  Krakow, 
is  known  as  the  "Krakowiak."  It  is  written  in  3/4  time  always,  and 
generally  is  in  the  major  key,  although  many  examples  are  found  in 
the  minor  key  also.  There  are  usually  a  great  many  couples,  as 
many  as  an  English  country  dance,  who  sing  while  dancing,  the  men 
always  striking  their  heels  together  to  accent  the  rhythm.  [Lesson 
XXIII,  Course  I.] 

63460     Na  Wawel  Polish 

This  dance  song  is  an  excellent  example  of  the  folk  music  of 
Poland.     [Lesson  XXIII,  Course  I.] 

85104     Voce  di  donna     (Angelic  Voice)     ("  La  Gioconda")  Ponchielli 

This  scene  occurs  in  the  first  act  of  "La  Gioconda."     The  stage 

shows  the  courtyard  of  the  Ducal  Palace  filled  with  a  noisy  crowd, 

who  are  celebrating  the  victory  of  the  boat  races.     La  Cieca,   the 

aged  blind  mother  of  Gioconda,  is  accused  by  the  loser  of  the  race 

to  have  used  witchcraft  against  him.     The  crowd  turn  on  her  and 

are  about  to  take  her  life,  when  she  is  saved  through  the  intervention 

of  Laura,  the  wife  of  the  noble  Alvise.    La  Cieca  speaks  her  gratitude : 

Thanks  to  thee,  angelic  voice, 
My  fetters  asunder  are  broken, 
I  cannot  see  the  face  of  her 
By  whom  these  words  were  spoken; 
Yet  Lady,  thou  must  not  depart 
Without  a  gift  from  me, 
This  rosary  I  offer, 
No  richer  prize  possessing; 
Deign  to  accept  the  humble  gift, 
'Twill  bring  to  thee  a  blessing, 
And  on  thy  head  may  bliss  descend, 
T'll  ever,  ever,  pray  for  thee. 

[Lesson  XXII,  Course  IV.] 

64070     Cielo  e  mar     (Heaven  and  Ocean)     ("  La  Gioconda")  Ponchielli 

This  great  tenor  aria  occurs  in  the  second  act.     Enzo  is  waiting 

299 


Analyses 

on  the  deck  of  his  boat  for  the  arrival  of  his  beloved  Laura,  whom 

Barnaba  has  promised  to  bring  to  him  in  safety.    He  sings : 

Enzo: 

Heaven  and  Ocean !  yon  ethereal  veil 

Is  radiant  as  a  holy  altar, 

My  angel,  will  she  come  from  heaven? 

My  angel,  will  she  come  o'er  ocean? 

Here  I  await  her,  I  breathe  with  rapture 

The  soft  zephyrs  fill  'd  with  love, 

Mortals  oft,  when  fondly  sighing, 

Find  ye  a  torment,  O  golden,  golden  dreams. 

Come  then,  dearest,  here  I'm  waiting; 

Wildly  panting  in  my  heart. 
Come  then,  dearest,  oh  come,  my  dearest! 

Oh  come,  taste  the  kisses  that  magic  bliss  impart! 

Oh  come!  Oh  come!  Oh  come! 

[Lesson  XXII,  Course  IV.] 

70070     Dance  of  the  Hours     ("  La  Gioconda  ")  Ponchielli 

In  the  third  act  of  Ponchielli 's  opera,  "La  Gioconda,"  the  scene 
shows  us  the  interior  of  the  Duke's  Palace  during  a  masked  ball. 
For  the  entertainment  of  the  guests  the  dance  is  then  given.  Each 
group  of  dancers  is  dressed  to  represent  darkness,  dawn,  light  and 
twilight,  and  the  action  represents  the  struggle  of  light  and  darkness 
for  supremacy.  It  is  a  charming  example  of  ballet  music,  and  the 
dance  here  given  is  one  of  the  most  popular  from  the  series.  [Lesson 
VII,  Course  III;  Lesson  XXII,  Course  IV.] 

64085     Musetta's  Waltz  Song    ("La  Boheme  ")  Puccini 

This  delightful  waltz  song  occurs  in  the  second  act  of  Puccini's 
beautiful  setting  of  Murger's  book,  "La  Vie  de  Boheme."  The 
scene  shows  us  the  Cafe  Momus,  and  gathered  there  are  all  the  types 
to  be  found  in  the  gay  life  of  Montmarte.  Musetta  appears  with  a 
wealthy  banker,  and  poor  Marcel  is  overcome  with  jealousy ;  but  after 
singing  this  charming  waltz,  she  deserts  the  banker  and  returns  to 
her  former  lover.     [Lesso?i  XXIII,  Course  IV.] 

55020     Quartet — Addio     (Farewell,  Sweet  Love)     ("La  Boheme") 

The  charm  and  grace  of  Puccini's  "La  Boheme"  is  strikingly 
felt  in  this  ever  popular  Quartet,  which  holds  an  important  position 
on  the  concert  stage  today. 

This  number  is  the  last  scene  of  Act  III,  and  tells  us  of  the 
farewell  between  Mimi  and  Rudolph.  All  the  characters  are  here 
briefly  sketched  in  tone  by  Puccini :  the  gentle  Mimi,  who  has  been 
saddened  by  the  mistrust  of  Rudolph ;  the  poet,  whose  love  for  Mimi 

300 


Analyses 

is  once   more   re-awakened ;   the   fickle   gaiety   of   Musetta,   and   the 
quarrelsome   bickerings   of   Marcel   and   Musetta.      [Lesson   XXIII, 
Course  IV.] 
88113     Un  bel  di  vedremo     (Some  Day)     ("  Madame  Butterfly ")       Puccini 

The  story  of  John  Luther  Long,  which  was  first  dramatized  by 
Belasco,  and  later  used  by  Puccini  for  his  opera,  "Madam  But- 
terfly," is  a  simple  story  of  life  in  Japan  that  has  met  with  universal 
approval. 

In  the  first  act  we  see  the  wedding  celebration  of  Butterfly  to 
the  young  American  Lieutenant;  in  the  second  act  is  portrayed  her 
hope  in  his  ultimate  return  to  her  side,  and  in  the  Finale  the  tragic 
death  of  Butterfly. 

This  aria,  which  is  one  of  the  most  popular  numbers  from  the 
opera,  occurs  at  opening  of  the  second  act.  Butterfly  who,  in  the 
three  years  since  Pinkerton's  departure  has  never  given  up  hope  that 
he  shall  return,  is  living  with  her  little  boy  and  her  faithful  maid  in 
the  little  house  where  she  had  been  so  happy.  Suzuki  begins  to  doubt 
that  the  American  husband  will  return ;  but  Butterfly  calms  her  fears, 
in  the  beautiful  aria,  in  which  she  tells  of  the  great  ship  which 
will  surely  come  again  and  bring  once  more  happiness  to  them  all. 
[Lesson  XXIII,  Course  IV.] 
89008     Duet  of  the  Flowers     ("  Madama  Butterfly  ")  Puccini 

This  beautiful  duet  for  soprano  and  alto  occurs  in  the  second 
act  of  Puccini's  Japanese  opera,  "Madame  Butterfly."  Poor  little 
Madame  Butterfly  at  last  sees  the  ship  of  Lieutenant  Pinkerton  come 
into  the  harbor,  and,  feeling  certain  that  her  husband  will  come  to 
her,  she  calls  to  Suzuki,  her  faithful  maid,  to  help  her  to  decorate  the 
room  with  flowers.  So  Suzuki  goes  to  the  garden  and  brings  in  all 
the  flowers  from  the  garden,  and  as  they  decorate  the  room  they  sing 
this  beautiful  duet.  [Lesson  VI,  Course  I;  Lesson  XXVI,  Course  II; 
Lesson  XXIII,  Course  IV.] 
88122     Cantabile  Scarpia     ("Tosca")  Puccini 

Puccini's    setting    of    Sardou's    great    drama    "Tosca"    gives    us    a 
wonderful  musical  delineation  of  character  in  the  description  of  Scarpia, 
the  Chief  of  Police  of  Rome,  who  is  bent  on  Cavaradossi's  destruction, 
that  he  may  win  Tosca  for  himself.     [Lesson  XXIII,  Course  IV.] 
88010     Aria — Vissi  d'arte     ("Tosca")  Puccini 

This  great  aria  occurs  in  the  finale  of  the  second  act  of  Puccini's 
"Tosca."     Tosca  has  been  forced  by  the  torture  of  her  lover  to  reveal 

301 


Analyses 

to  Scarpia  the  secret  of  Angelotti's  hiding  place.  She  then  consents 
to  accept  Scarpia's  proposal  if  he  will  promise  that  Cavaradossi  will 
be  free.  This  aria  is  her  final  appeal  to  the  base  wretch  Scarpia,  just 
before  the  end  of  the  second  act.     [Lesson  XXIII  Course  IV.] 

74249     Nightingale's  Passion  Song  Rameau 

This  beautiful  soprano  aria  is  from  Rameau 's  first  opera,  "  Hip- 
poly  te  et  Aricie."  Strangely  enough,  Rameau  wrote  no  operas  until 
he  was  fifty  years  old,  when  "Hippolyte"  appeared.  Previous  to  this, 
Rameau  had  made  a  setting  of  Voltaire's  "Samson,"  but  the  piece 
was  interdicted  on  the  eve  of  its  performance.  At  Rameau 's  request, 
the  Abbe  Pelegrim  provided  an  opera  book  based  on  Racine's 
"Phedre, "  which  was  produced  at  the  Academie  Royale  de  Musique 
as  "Hippolyte  et  Aricie"  in  1733.  This  opera  tells  us  of  the  son  of 
Theuseus,  Duke  of  Athens,  and  Hippolyta,  the  Amazon  queen,  whose 
nuptials  are  celebrated  in  Shakespeare's  "A  Midsummer  Night's 
Dream."  This  youth  comes  to  grief  because  of  the  jealous  anger  of 
Venus.  This  aria  is  in  the  Italian  style  of  the  period  known  as  ' '  Aria 
d Tmitazione. "     [Lesson  VII,  Course  II;  Lesson  IV,  Course  IV.] 

64209     Song  of  the  Shepherd  Lehl     ("  Snow  Maiden  ")     Rimsky-Korsakoff 

Rimsky-Korsakoff  belongs  to  the  National  School  of  Russia  and 
was  originally  educated  as  a  naval  officer.  He  is  the  dean  of  the  school 
of  Neo-Russia  to-day,  as  Glazounow,  Rachmaninow  and  others  are  all 
his  pupils. 

Rimsky-Korsakoff  has  written  his  best  works  for  orchestra  and 
the  concert  room,  but  he  also  wrote  several  operas  on  Russian  stories, 
which  have  been  popular  in  his  native  land.  His  ballet  on  the  story 
of  "The  Snow  Maiden"  has  been  very  popular,  its  captivating  music 
being  reminiscent  of  the  Russian  folk  song.  ' '  The  Song  of  the  Shep- 
herd Lehl"  is  an  excellent  example  of  his  use  of  folk  characteristics. 

The   flying  cloud  called  to  the  thunder 
You   rumble.   1*11   scatter  the  rain. 
Then  the  plains  will  be  green  with  springtime 
And   the   smiling  flowers  shall   spring. 

Now   the   girls    through    woods   appear. 

Their   strawberries  they  gather  far  and   near, 

We  hear  their  song  and   laughter. 

Then  a  sudden   cry  of  torture. 

''One  maiden  she  has  gone. 

Alas!   she'll   meet  the  wolf  alone." 

Oh!   My  Lehl!    My  Lehl!    My  Lehl! 

302 


Analyses 

While  the  maidens  sigh  and  cry — 

A  wild  eyed  stranger  they  spy — 

"You   silly  girls,   have  you   lost  your   wits? 

Why  do  you  weep  and  cry? 

Your  silly  tears  will  do  no  good, 

Why   don't  you   look  about  the  wood?" 

Oh!   My  Lehl!  My  Lehl!   My  Lehl ! 

[Lesson  XXII,  Course  II.] 

74093     Cujus  animam     ("Stabat  Mater ")  Rossini 

The  "Stabat  Mater"  of  Eossirii  belongs  distinctly  to  the  French 
Grand  Opera  School  of  Rossini's  day.  Although  a  musical  setting  of 
the  most  sacred  words  in  the  Catholic  Church  service,  Eossini  has 
here  used  the  same  musical  expression  he  would  have  employed  for 
any  trivial  operatic  libretto.  The  superficial  tendency  of  Rossini's  age 
has  been  remarked,  and  as  he  favored  the  singers  with  florid  and  highly 
embellished  arias  in  his  operas,  we  find  that  the  selections  chosen  from 
the  "Stabat  Mater"  answer  the  same  dramatic  deficiencies.  The  "Cujus 
Animam"  is  sung  by  the  tenor,  and  follows  the  opening  chorus  "Stabat 
Mater  Dolorosa." 

Savior  breathe  forgiveness  o'er  me, 
In  my  need  guide  me,  keep  me, 
God  of  mercy.     God  of  love. 

Heavenly  Father,  help   I  pray  Thee, 
While  I  humbly  bend  before  Thee, 
Save  and  help  me  blessed  Lord. 

[Lesson  IX,   Course  IV.] 

35157     Cujus  Animam     (For  Trombone)  Rossini 

[Lesson  XXI,  Course  HI.] 

70037     Inflammatus     ("  Stabat  Mater ")  Rossini 

The  most  brilliant  soprano  solo  in  Rossini's  "Stabat  Mater"  is 
the  Inflammatus,  which  has  its  place  between  the  Stabat  Mater 
(quartet)  and  the  Quando  Corpus  (quartet).  This  prayer  to  the 
Virgin  is  accompanied  by  chorus  and  is  a  beautiful  example  of  Ros- 
sini's strength  as  a  writer  of  concerted  music.  [Lesson  IX,  Course 
IV.] 

88391     Largo  al  Factotum     ("  The  Barber  of  Seville  ")  Rossini 

No  single  number  from  Rossini's  ever  popular  "Barber  of 
Seville,"  has  been  more  universally  acclaimed  than  Figaro's  aria 
from  the  first  act.  This  is  one  of  the  old  style  songs  of  Opera  Buffa 
known  as  "the  Patter  Song,"  in  which  the  character  tells  of  his  work 
and  personal  habits.  Figaro  enters  with  a  guitar  hung  about  his 
neck. 


Analyses 


Figaro : 

Room  for  the  city's  factotum  here, 

La,  la,  la,  la,  la,  la. 
1   must  be  off  to  my  shop,  for  the  dawn  is  near, 

La,  la,  la,  la,  la,  la. 
What  a  merry  life,  what  pleasure  gay, 

Awaits  a  barber  of  quality. 
Ali.  brave  Figaro;  bravo,  bravissimo,  brave. 

La,  la,  la,  la,  la,  la. 
Of  men,  the  happiest,  sure,  art   lliou.  liravo. 

La,  la,  la,  la,  la,  la. 

"Oh!  what  a  happy  life,"  soliloquizes  the  gay  barber  of  quality.  "Oh, 
bravo,  Figaro,  bravo,  bravissimo;  thou  art  sure  the  happiest  of  men,  ready  at  all 
hours  of  the  night,  and,  by  day,  perpetually  in  bustle  and  motion.  What  happier 
region  of  delight;  what  nobler  life  for  a  barber  than  mine!  Razors,  combs, 
lancets,  scissors — behold  them  all  at  my  command!  besides  the  snug  perquisites 
of  the  business,  with  gay  damsels  and  cavaliers.  All  call  me!  all  want  me! — dames 
and  maidens — old  and  young.  My  peruke!  eries  one — my  beard!  shouts  another — 
bleed  me!  cries  this — this  billetdoux!  whispers  that.  Figaro,  Figaro,  heavens,  what 
a  crowd.  Figaro,  Figaro!  heavens  what  a  tumult  !  One  at  a  time,  for  mercy  sake! 
Figaro  here:  Figaro  there:  Figaro  above;  Figaro  below:  I  am  all  activity: 
I  am  quick  as  lightning;  in  a  word — I  am  the  factotum  of  the  town.  Oh,  what  a 
happy  life!  but  little  fatigue — abundant  amusement — with  a  pocket  that  can  always 
boast  a  doubloon,  the  noble  fruit  of  my  reputation.  But  I  must  hasten  to  the 
shop. ' ' 

[Lesson  XVII,  Course  II ;  Lesson  X,  Course  IV.] 

88097     Una  voce  poco  fa     ("  Barber  of  Seville")  Rossini 

In  the  "Barber  of  Seville"  Rossini  lias  given  us  his  best  work, 
for  although  in  the  form  of  Opera  Buffa,  this  opera  has  been  ever 
considered  his  greatest  and  most  popular  composition.  The  story  is 
from  the  Beaumarchais's  comedy,  and  is  the  same  which  Mozart  im- 
mortalized in  "The  Marriage  of  Figaro." 

The  cavatina  "Una  Voce  Poco  Fa"  is  sung  by  Rosina  in  the 
first  act : 

Rosina: 

A  little  voice  I  heard  just  now; 

Oh,  it  has  thrill 'd  my  very  heart! 

I  feel  that  I  am  wounded  sore: 

And  Lindor    'twas  who  hurl'd  the  dart, 

Yes,  Lindor,  dearest,  shall  be  mine ! 

I  've  sworn  it,  and  we  '11  never  part. 

My  guardian  sure  will  ne'er  consent: 
But  I  must  sharpen  all  my  wit : 
Content  at  last,  he  will  relent, 
And  we,  oh,  joy!  be  wedded  yet. 
Yes,  Lindor,  I  have  sworn  to  love! 
And  loving,  we'll  our  cares  forget. 

[Lesson  I,  Course  IV;  Lesson  X,  Course  IV.) 

304 


Analyses 

92051     Trio     ("  William  Tell ")  Rossini 

Rossini's  "William  Tell"  is  his  masterpiece  in  the  style  of  the 
Opera  Seria.  The  scene  of  the  opera  is  laid  in  Switzerland  and  the 
story  follows  in  general  the  historical  events  credited  to  the  life 
of  the  Swiss  patriot,  by  Schiller,  in  his  drama  "Wilhelm  Tell." 

This  trio  is  sung  by  Tell,  and  his  companions,  Walther  and 
Arnold.     Tell  is  urging  them  to  free  their  fatherland. 

Arnold : 

His  life  the  tyrant  wickedly  hath  taken, 
And  yet  my  sabre  in  its  sheath  reposeth; 
Alas!  my  father  his  son's  aid  was  needing, 
While  Helvetia  was  e'en  then  betraying. 
Heavens !  never  again  shall  1  behold  him ! 

Trio  : 

May  glory  our  hearts  with  courage  exalt 

Our  cause  propitious  Heaven  will  aid; 

The  shade  of  your  father  our  souls  will  inspire! 

Vengeance  it  calls  for,  and  not  lamentation; 

Although  departed,  he  doth  seem  to  say, 

Happy  in  his  destiny  hath  he  been ; 

His  remains  a  martyr's  tomb  shall  hallow, 

Of  virtue  such  as  his  the  fit  recompense. 

[Lesson  X,  Course  IV.] 

60051     Melody  in  F  Rubinstein 

This  ever  popular  composition  was  originally  a  short  piano  selec- 
tion. It  clearly  shows  the  influence  of  Mendelssohn  and  the  German 
Romantic  School,  for  it  must  be  remembered  that  Rubinstein,  although 
a  Russian,  was  educated  in  Germany.  The  composer  once  said  of 
himself,  ' '  The  Germans  call  me  a  Russian ;  the  Russians  a  German ; 
the  Jews  a  Christian,  and  the  Christians  a  Jew.  What  then  am  I?" 
In  this  famous  Melody  in  F,  we  can  clearly  note  the  influence  of 
Mendelssohn's  "Songs  Without  Words,"  for  although  this  beautiful 
number  does  not  bear  a  title,  it  is  an  excellent  example  of  music  illus- 
trating a  poetic  thought.     [Lesson  I,  Course  I.] 

60039     Toreador  and  Andalouse  Rubinstein 

This  charming  tone  picture  is  one  of  a  set  of  twenty  short  pieces 
for  piano,  which  Rubinstein  called  by  the  general  name  of  "Bal 
Costume."  Each  describes  some  particularly  national  costume,  this 
one  being  a  short  musical  portrayal  of  Spanish  characters.  [Lesson 
XXII,  Course  II.] 

70077     Kammenoi-Ostrow  Rubinstein 

This  collection  of  twenty-four  piano  pieces  is  Op.  10  in  the  Rubin- 
stein Catalogue.     The  general  title  "Kammenoi  Ostrow, "  takes  its 

305 


Analyses 

name  from  a  popular  fashionable  resort  on  the  Kammenoi  Island  in 
the  river  Neva,  where  Rubinstein  spent  many  vacation  days.  Each 
one  of  these  short  pieces  is  a  tonal  portrait  of  one  of  the  friends  or 
acquaintances  made  by  Rubinstein  while  there.  No.  22,  "Reve  An- 
gelique,"  is  dedicated  to  Mile.  Anna  de  Friedbourg,  and  is  said  to  be 
her  idealized  portrait  painted  in  tone.     [Lesson  XXII,  Course  II.] 

17001     Kamarinskaia  Russian  Dance 

The  Kamarinskaia  is  the  national  dance  of  Russia.  It  is  in 
4-4  time  and  is  almost  -barbaric  in  its  vigorous  strength.  It  was 
originally  danced  only  by  men,  and  an  unlimited  number  of  steps 
were  taken.  Many  of  the  Russian  composers  have  incorporated  this 
air  into  their  orchestral  compositions.  [Lesson  XIV,  Course  I;  Lesson 
XXII,  Course  L] 

61181     Folk  Song — Let  Joy  Abide  Russian 

This  interesting  old  Russian  folk  song  is  sung  to  the  accompani- 
ment of  the  balalaika.  It  is  a  dance  folk  song,  consisting  of  two 
verses  exactly  alike,  then  a  contrasting  verse,  a  variation  of  the  contrast- 
ing verse  and  return  to  the  original  verse.  [Lesson  XXIV,  Course 
III.] 
63153     Two  Folk  Songs — (1)  Vanka     (2)  Kolebalna  Russian 

These  two  folk  songs  are  excellent  examples  of  Russian  folk  music. 
Vanka  is  in  the  gay  mood  which  distinguishes  the  dance  song.  Kolebalna 
is  a  Cossack's  lullaby  arranged  by  Bachmetieff.  It  is  a  charming  example 
of  the  song  form,  full  of  the  tender  sadness  of  the  Russian  people.  The 
mother,  whose  husband  is  a  Cossack  soldier,  sings  as  she  rocks  her  baby, 
that  the  day  will  soon  come  when  he  will  go  into  the  army  to  fight  for 
Czar  and  country.  [Lesson  XV,  Course  I;  Lesson  XXII,  Course  1.] 
70034     Russian  Folk  Songs — Molodka     (2)   Sun  in  the  Sky  Stop  Shining 

These  two  folk  songs  are  excellent  examples  of  the  dance  songs 
of  "Little  Russia."  It  will  be  noted  that  the  melody  is  here  re- 
peated ever  and  ever  with  increasing  tempo.  As  these  dances  are 
played  here  by  the  Balalaika  Orchestra,  we  have  a  perfect  example 
of  this  style  of  dance  tune,  so  popular  among  the  Russian  folk.  [Les- 
son XXII,  Course  I ;  Lesson  XXIV,  Course  III.] 
16313     Russian  Fantasia  Russian 

This  Russian  Fantasia  is  a  series  of  variations  on  the  Russian 
folk  song  "The  Red  Sarafan."  the  Russian  National  Anthem,  "God 
Save  the  Czar,"  being  incorporated  at  the  end  of  the  composition. 

306 


Analyses 

The  Red  Sarafan  is  one  of  the  best  known  national  airs  of  central 
Russia.  The  dress,  or  robe,  called  the  Sarafan,  is  the  national  cos- 
tume of  the  Russian  female  peasant.  "God  Save  the  Czar"  was 
written  by  General  Lwoff.     [Lesson  XX,  Course  III.] 

64046     Le  Cygne  Saint-Saens 

No  work  of  the  famous  French  composer,  Camille  Saint-Saens, 
has  been  more  universally  popular  than  this  charming  short  tone 
picture,  which  the  composer  has  inscribed  "The  Swan."  That  the 
piece  must  be  as  popular  with  its  composer  as  with  the  public  is 
attested  to  by  the  fact  that  Saint-Saens  has  made  transcriptions  of 
this  composition  for  all  the  instruments.  This  work  belongs  to  that 
class  of  program  music  in  which  the  title-  merely  suggests  to  the 
auditor  the  mood  or  poetic  thought  of  the  composer.  [Lesson  VI, 
Course  III.] 

35019     Marche  Heroi'que  Saint-Saens 

This  brilliant  orchestral  march,  by  the  dean  of  the  modern 
French  School,  is  a  good  example  of  the  inarch  as  used  for  a  concert 
number.  It  follows,  in  general,  the  customary  three-part  form,  of 
march,  trio,  march  and  coda.  The  composition  is  dedicated  to  Henri 
Regnault.     [Lesson  XXVII,  Course  II.] 

87087     Pause,  My  Brothers  !     ("Samson  et  Dalila")  Saint-Saens 

This  great  aria  occurs  in  the  first  act  of  Saint-Saens'  Biblical 

opera  "Samson  et  Dalila,"  often  given  in  concert  form  by  choral 

societies.     The  stage  shows  a  public  place  in  the  city  of  Gaza,  where 

the  Hebrew  men  and  women  are  praying  to  their  God  to  save  them 

from  the  Philistines.     Samson  emerges  from  the  throng,   faces  his 

brethren,  and  speaks : 

Samson    (coming  out  from  the  throng)  : 
Let  us  pause,   0  my  brothers, 

And  bless  the  holy  name  of  the  God  of  our  fathers! 
For  now  the  hour  is  here  when  pardon  shall  be  spoken. 
Yes  a  voice  in  my  heart  is  the  token. 

'Tis  the  voice  of  the  Lord,  who  by  my  mouth  thus  speaketh. 
Our  prayers  to  him  have  risen, 
And   liberty  is  ours. 
Brothers!   we'll  break  from  bondage! 
Our  altars  raise  once  more 
To  our  God  as  before ! 

[Lesson  XXIX,  Course  IV.] 

17180     Chorus     ("Samson  et  Dalila ")  Saint-Saens 

This  charming  chorus  for  women's  voices  occurs  in  the  second 
scene  of  the  first  act.    The  fair  temptress  of  Sorek  follows  in  the  train 


Analyses 

of  her  maidens,  who  dance  as  they  weave  the  garlands  of  spring,  sing- 
ing these  beautiful  verses.      [Lesson   VI,   Course  I;  Lesson  XXIX, 

Course  IV.] 

88199     My  Heart  at  Thy  Sweet  Voice     ("Samson  et  Dalila")      Saint-Saens 

This  great  aria  occurs  in  the  second   act  of  "Samson  et  Dalila." 

The  scene  shows  the  valley  of  Sorek  and   Dalila's  dwelling.     It  is  a 

dark  stormy  night  and  distant  flashes  of  lightning  are  seen.     Thither 

comes  Samson  beguiled   by  the   charms   of   the  beautiful   Dalila.     She 

sings  to   him : 

My  heart  at  thy  dear  voice 

Opens  wide  like  a  flower 

Which   the  morning's  kisses  waken, 

But  that  I  may  rejoice 

That  my  tears  no  more  shower 

Tell  thy  love  still  unshaken. 

0.  say  thou  wilt  not  now 

Leave  Dalila  again ! 

Repeat  with  accents  tender 

Every  passionate  vow, 

Ah,  thou  dearest  of  men ! 

Ah,  to  the  charms  of  love  surrender, 

Rise  with  me  to  its  heights  of  splendor. 

#  *  *  #  * 

Copy't  1892,  G.  Schirmer. 

[Lesson  XXIX,  Course  IV.] 

17174     Tarantella     (For  Flute  and  Clarinet)  Saint-Saens 

The  old  Italian  song  dance,  the  tarantelle,  has  been  very  popular 
as  a  form  for  brilliant  solo  compositions.  This  duet  for  flute  and 
clarinet,  by  Camille  Saint-Saens,  gives  us  an  excellent  idea  of  the 
form  as  so  employed.  It  will  be  remembered  that  as  a  dance,  the 
Tarantelle  is  participated  in  by  two  dancers.  In  this  illustration 
the  dancers  are  the  clarinet  and  flute,  so  we  have  not  only  an  ex- 
cellent opportunity  of  studying  the  form,  but  also  the  tone  quality 
of  these  wood-wind  instruments.     [Lesson  XVI,  Course  HI.] 

64001     Ave  Maria     (For  Violoncello)  Schubert 

This  beautiful  arrangement  of  Schubert's  song  has  become  a 
great  favorite  with  concert  audiences.  The  'cello  is,  of  all  instruments, 
the  most  nearly  akin  to  that  of  the  human  voice,  and  this  sympathetic 
quality  is  most  beautiful  in  this  arrangement  of  the  maiden's  appeal 
to  the  Virgin.     [Lesson  VI.  Course  III.] 

308 


Analyses 

88342     Erl  King  Schubert 

This  wonderful   setting   of   Goethe's  poem  was   Schubert's   first 

published  work,  and  belongs  to  the  year  1815.     Yet  this  wonderful 

song  is  today  still  considered  the  most  remarkable  art-song  in  all 

song  literature.     Not  only  is  it  a  perfect  example  of  the  song  form, 

but  it  also  perfectly  relates  the  story  by  the  use  of  the  three  voices 

and  the  marvelous  descriptive  character  of  the  accompaniment: 

Who  rideth  so  late  through  windy  night  wild? 
It  is  the  father,  he  holds  his  child, 
And  close  the  boy  nestles  within  his  arm, 
He  holds  him  tightly,  he  holds  him  warm. 

' '  My  son,  why  in  terror  do  you  shrink  and  hide  ? ' ' 
"O  father,  see  next  us  the  Erl  King  doth  ride, 
The  Erl  King  dreaded  with  crown  and  robe. ' ' 
' '  My  son,  'tis  but  the  mist  of  a  cloud. ' ' 

' '  Thou  lovely  child,  come  go  with  me 
Such  merry  plays  I  '11  play  with  thee, 
Many  gay  blossoms  are  blooming  there, 
My  mother  hath  many  gold  robes  to  wear. ' ' 

' '  My  father,  my  father,  did  'st  you  not  hear 
What  the  Erl  King  whispers  so  soft  in  my  ear?" 
' '  Be  quiet,  my  child,  do  not  mind, 
'Tis  but  the  dead  leaves  stirred  by  the  wind. ' ' 

"Come,  lovely  boy,  wilt  go  with  me? 

My  daughters  fair  shall  wait  on  thee, 

My  daughters  lead  in  the  revels  each  night, 

There  is  dancing  and  singing  and  laughter  bright. ' ' 

' '  My  father,  my  father,  oh,  see  'st  thou  not, 
The  Erl  King's  daughter  in  yonder  dim  spot?" 
' '  My  son,  my  son,  I  know  and  I  say, 
'Tis  only  the  olden  willows  so  grey." 

' '  I  love  thee  so,  thou  must  come  with  me  now, 
Thou  must  know  to  my  will  thou  shalt  bow. ' ' 
' '  My  father,  my  father,  oh  fast  hold  me  so, 
The  Erl  King  will  drag  me  away  from  you. ' ' 

The  father  is  troubled,  he  rides  now  wild; 
And  holds  close  in  his  arms  his  shuddering  child. 
He  reaches  the  house  with  doubt  and  dread, 
But  in  his  arms  his  child  lies  dead. 

[Lesson  XIV,  Course  II.] 

640933}  Serenade  Schubert 

No  work  of  Schubert's  is  more  deservedly  popular  than  the  ever 
beautiful  song,  the  "Serenade." 

Thro '  the  leaves  the  night-winds  moving,  murmur  low  and  sweet ; 
To  thy  chamber  window  roving,  love  hath  led  my  feet. 
Silent  pray'rs  of  blissful  feeling  link  us  though  apart, 

309 


Analyses 

Link  us  though  apart,  on  the  breath  of  music  stealing, 
To  my  dreaming  heart,  to  thy  dreaming  heart. 

Sadly  in  the  forest  mourning  wails  the  whip-poor-will 
And  the  heart  for  thee  is  yearning. 
O  bid  it  love,  be  still. 

Moonlight  on  the  earth  is  sleeping,  winds  are  rustling  low, 
Where  the  darkling  streams  are  creeping,  dearest,  let  us  go ! 
All  the  stars  keep  watch  in  heaven,  while  I  sing  to  thee, 
While  I  sing  to  thee:  and  the  night  for  love  was  given, 
Dearest,  come  to  me,  dearest,  come  to  me. 

Words  by  Frederick  Manly  from  Laurel  Music  Reader. 
Courtesy  of  C.  C.  Birchard  &  Co. 

[Lesson  XIV,  Course  II;  Lesson  V,  Course  III.] 

88013     Who  is  Sylvia?  Schubert 

This  charming  setting  of  the  love  song  from  Shakespeare's  "Two 
Gentlemen  of  Verona"  has  an  interesting  history.  It  is  said  that  Schu- 
bert was  one  afternoon  with  friends  in  a  restaurant  of  Vienna  when 
he  noticed  a  volume  of  Shakespeare  on  the  table.  Opening  it,  he 
noted  the  verses  of  "Cymbeline"  and  remarked :  "These  would  make  a 
pretty  song."  Taking  the  back  of  the  menu  card,  he  wrote  the  music 
of  "Hark,  Hark  the  Lark."  Then  turning  the  card  over,  he  wrote 
the  music  for  these  verses : 

Who  is  Sylvia,  what  is  she? 

That  all  our  swains  commend  her  ? 

Holy,  fair,  and  wise  is  she, 

The   heavens   such   grace   did   lend   her 

That  she  might  admired  be, 

That  she  might  admired  be. 

Is  she  kind  as  she  is  fair? 
For  beauty  lives  with  kindness. 
To  her  eyes  love  doth  repair 
To  help  him  of  his  blindness 
And  being  helped,  inhabits  there, 
And  being  helped,   inhabits   there. 

Then   to   Sylvia   let  us   sing 
That  Sylvia   is  excelling, 
She  excels  every  mortal  thing 
Upon  the  dull  earth  dwelling. 
To  her  let  us  garlands  bring, 
To  her  let  us  garlands  bring. 

[Lesson  XIV,  Course  II.] 

68339     The  Wanderer  Schubert 

One  of  the  most  beautiful  of  the  early  songs  of  Schubert  is 
"Der  Wanderer,"  which  was  written  to  words  of  George  Schmidt, 
in  1816.    It  is  said  that  Schubert  wrote  this  work  when  but  nineteen 

310 


Analyses 

and  that  it  was  composed  in  one  evening.  Were  it  not  for  the  fact 
that  "Erl  King"  was  written  the  year  previous,  it  would  seem  im- 
possible to  believe  that  such  a  mature  work  could  have  been  con- 
ceived by  such  a  young  man.  This  is  a  wonderful  example  of  the 
art  song.    The  words  are : 

From  the  lonely  mountains  I  come 

From  the  dim  vale,  and  ever  moans  the  sea. 

Yet  I  wander  joyously  on 

And  ever  ask  the  question,  "Where?" 

The  sun  seems  to  me  pale  and  cold, 
The  flowers  are  faded,  life  is  old; 
And  even  speech  has  but  a  hollow  sound. 
I  am  a  friendless  stranger  everywhere. 

Where  art  thou,  where  art  thou,  my  beloved  land? 

I  seek  for  you  but  never  know 

That  land  where  hope  is  green, 

That  land  where  blooms  the  rose, 

Where  friends  so  dear  do  wander, 

Where  all  the  dead  do  live  again — 

That  land  where  all  my  tongue  do  speak. 

0  Land,  where  art  thou? 

Yet  I  wander  joyously  on 

And  ever  ask  the  question,  "Where?" 

1  hear  the  spirit's  voice  in  answer, 

' '  There,  where  thou  art  not,  there  is  thy  rest. ' ' 

[Lesson  XIV,  Course  II.] 

64076     The  Bee  Franz  Schubert 

Franz  Schubert,  the  composer  of  this  charming  little  tone  paint- 
ing, was  a  violinist  of  Dresden,  and  was  no  relation  to  Franz  Peter 
Schubert,  of  Vienna,  the  great  composer  of  the  time  of  Beethoven. 
This  Franz  Schubert  was  born  in  Dresden,  1808,  and  died  there  in 
1878.  Almost  all  of  his  compositions  were  for  his  favorite  instru- 
ment. Possibly  the  one  which  has  won  for  him  the  greatest  recogni- 
tion is  this  short  but  exceedingly  clever  musical  delineation  of  the 
buzzing  bee.     [Lesson  I,  Course  I.] 

31740     Song — The  Two  Grenadiers  Schumann 

This  song  by  Robert  Schumann  is  remarkable,  not  only  because 
it  is  a  perfect  example  of  the  art-lieder,  but  because  Schumann  has 
brought  into  the  music  a  national  expression  in  the  employment  of 
the  Marseillaise  Hymn.  It  seems  strange  that  two  Germans  as  essen- 
tially Teutonic  as  Heine  and  Schumann  should  have  given  us  a  song 


Analyses 

which  expresses  the  patriotic  nationalism  of  France.     [Lesson  XVIll, 
Course  I;  Lesson  XV,  Course  II.] 

74285     Vogel  als  Prophet  Schumann 

This  charming  short  composition  belongs  to  Opus  83,  where  it  is 
No.  7,  in  a  series  of  pianoforte  pieces  entitled  "Forest  Scenes."  It 
was  written  by  Schumann,  in  1848.  This  piece  belongs  to  the  class 
of  Imitative  Music,  as  Schumann  here  describes  the  voice  of  the 
prophet  bird,  as  heard  in  the  forest.     [Lesson  XV,  Course  II.] 

35254     Gypsy  Life  Schumann 

This  charming  chorus  for  women's  voices  shows  Schumann  in 
an  attempt  to  portray  the  national  characteristics  of  the  gypsies.  It 
is  a  beautiful  part  song  which  gives  us  an  excellent  opportunity  of 
noting  the  combination  of  voices.     [Lesson  IX,  Course  I.] 

64217     The  Return  of  Spring  Schumann 

The  charming  tone  picture  of  spring  is  a  beautiful  example  of 
poetic  thought.     | Lesson  XV,  Course  II.] 

17140     Scotch  Medley  March 

The  famous  Sutcliffe  Troupe,  which  is  composed  of  bag-pipers  and 
drummers,  have  in  this  medley  given  us  a  very  interesting  use  of 
several  of  the  best  known  Scotch  airs. 

The  origin  of  the  bag-pipes  is  lost  to  history,  but  we  can  trace 
peculiarities  of  its  type  in  instruments  to  be  found  in  Asia,  Africa  and 
Europe. 

The  instrument  was  popular  at  the  courts  of  France,  Austria  and 
Italy  during  the  sixteenth  and  seventeenth  centuries,  but  it  reached  its 
perfection  in  Scotland,  where  it  is  in  the  truest  sense,  the  national 
instrument.  At  the  time  of  the  Eeformation,  and  again  in  1745  the 
English  Government  banished  the  bag-pipe,  declaring  it  to  be  "an 
instrument  of  war."  It  is  now  universally  regarded  as  a  part  of  the 
army  life  of  Great  Britain;  the  Scotch  piper  bands  being  as  important 
as  the  military  bands,  not  only  in  the  British  Isles,  but  in  the  Colonies 
as  well. 

The  two  chief  peculiarities  of  the  bag-pipe  are:  the  use  of  the 
old  pentatonic,  or  five-tone  scale,  which  is  without  one  fourth  and 
seventh  in  the  major,  and  the  second  and  sixth  in  the  minor;  and 
also  the  rhythmic  device,  known  as  the  "Scotch  snap,"  in  which  the 

312 


A  n  a  J  y  s  e  s 

first  tone  has  only  one-quarter  of  the  duration  of  the  second.     [Lesson 
XXVIII,  Course  I.] 

17001     Highland  Fling  Scotch 

A  popular  dance  of  the  Scotch  Highlands  is  the  "Highland 
Fling,"  so  called  from  the  peculiar  step,  which  is  almost  a  kicking 
gesture.  The  performer  dances  on  each  leg  alternately,  and  "flings" 
the  other  leg,  now  front,  now  back  of  him.  The  music  is  usually 
the  same  as  that  used  for  the  other  Highland  dance,  the  Strathspey, 
which  is  distinguished  by  the  constant  employment  of  the  semi- 
quavers, which  precede  the  long  note,  and  which  is  characterized  by 
the  term  "Scotch  Snap."  [Lesson  XIV,  Course  I;  Lesson  XXVIII, 
Course  I.] 

16961     Jock  o'  Hazeldean  Scotch 

Sir  Walter  Scott  wrote  the  words  of  this  song,  using  an  old 
ballad  having  the  same  title.  The  melody  is  an  old  Scotch  border 
song.  The  well-known  air,  "The  Girl  I  Left  Behind  Me,"  was  taken 
from  this  tune.     [Lesson  XXVIII,  Course  I.] 

64210    Loch  Lomond  Old  Scotch 

This  beautiful  Scotch  legendary  song  is  a  Jacobite  air,  and  is 
an  excellent  example  of  the  hexachordal  (six-noted)  scale.  The 
words,  "I'll  tak'  the  low  road,"  indicate  that  the  song  is  that  of  a 
fugitive,  who  must  needs  travel  by  stealth  along  hidden  paths  to 
reach  his  native  Scotland.     [Lesson  XXVIII,  Course  I.] 

16961     Scots  Wha  Hae  Wi'  Wallace  Bled  Old  Scotch 

It  is  said  that  this  stirring  Scotch  patriotic  hymn  was  first  sung 
by  Robert  Bruce 's  army  when  they  marched  to  Bannockburn,  in  1314. 
In  1715  and  1745  the  tune  was  certainly  used  under  the  name  of 
"Hei  Tutti  Taiti,"  words  imitative  of  the  martial  notes  of  the 
trumpet.  The  air  was  ever  popular  throughout  Scotland,  and  Lady 
Nairne  used  it  for  a  setting  of  her  words,  "I'm  Wearing  Awa  Jean." 
The  words  by  Robert  Burns  (published  May,  1794),  are,  however, 
much  more  fitting  to  the  character  of  the  music.  This  song  is  an  ex- 
cellent example  of  the  old  scale-form  of  the  Scotch  pentatonic  scale. 
[Lesson  XV,  Course  I ;  Lesson  XXV III,  Course  I.] 

17181     The  Loreley  Friedrich  Silcher 

There  have  been  many  wonderful  musical  settings  of  Heine's 
poem,  the  Loreley,  but  no  one,  not  even  Liszt,  in  his  wonderful  art 

313 


Analyses 

song,  came  so  closely  to  the  popular  idea  of  the  legend  as  did  Silcher 
in  this  song.  Although  a  product  of  the  nineteenth  century,  Sil- 
cher's  music  has  all  the  elements  of  the  German  folk  song.  Just  as 
Heine  has  immortalized  for  us  the  wonderful  old  Rhine  legend,  so 
has  Silcher  in  his  music  given  us  a  perfect  example  of  the  true 
legendary  folk  song.     [Lesson  XIX,  Course  I.] 

35148     Overture     ("  The  Bartered'Bride ")  Smetana 

With  this  opera,  "The  Bartered  Bride,"  Smetana  laid  the  founda- 
tion of  the  Bohemian  National  School  of  Music.  In  this  work  he 
has  used  a  Bohemian  folk  tale,  and  has  set  it  to  Bohemian  folk  music. 
The  overture  is  in  a  merry  mood,  being  filled  with  Bohemian  tunes 
employed  in  a  remarkable  manner.  It  follows  the  general  ideas  of 
the  sonata  overture,  but  vaguely.  The  first  subject  is  based  on 
two  folk-dance  tunes,  the  second  subject,  being  the  love  theme;  the 
working  out  is  short;  the  subjects  are  again  heard,  and  a  short  coda 
brings  the  work  to  a  conclusion.  [Lesson  XX,  Course  I;  Lesson  XVI /. 
Course  IV.] 

63302     Comedian's  March     ("The  Bartered  Bride ")  Smetana 

This  music  was  written  to  accompany  the  performance  given  by 
the  strolling  players  in  the  third  act  of  Smetana 's  Bohemian  opera, 
"The  Bartered  Bride."  The  scene  shows  us  a  typical  Bohemian 
inn,  and  the  townspeople  are  gathered  there  to  watch  the  arrival  of 
a  band  of  strolling  players,  wTho  give  an  informal  entertainment  as 
an  advertisement  of  their  "show"  announced  for  the  evening.  This 
music  is  typically  Bohemian.     [Lesson  I,  Course  II.] 

16205     Aria-Jenik     ("The  Bartered  Bride  ")  Smetana 

This  aria  is  sung  by  Jenik  in  the  second  act  of  "The  Bartered 
Bride,"  after  he  has  made  the  agreement  with  Kezal,  the  marriage 
broker,  that,  for  three  hundred  gulden,  he  will  withdraw  his  claim  on 
Marie,  provided  it  is  clearly  stated  that  she  shall  wed  only  the  son 
of  Micha. 

16208     Terzetto     ("  The  Bartered  Bride ")  Smetana 

This  Terzetto  occurs  in  the  third  act  of  Smetana 's  opera,  "The 
Bartered  Bride."     It  is  sung  by  Marie,  "the  bartered  bride,"  Kezal, 


Analyses 

the  marriage  broker,  and  Jenik,  Marie's  lover,  who,  although  under 
contract  to  Kezal  not  to  make  love  to  Marie  if  she  marry  "the  son 
of  Micha,"  knows  that  he  is  the  lost  son  of  Micha  and  she  still  will 
be  his. 

Jenik  tries  to  comfort  her  and  assures  her  Micha 's  son  loves  her 
truly,  but  Marie  replies,  that  he  is  a  hypocrite  to  sell  her  love  and 
that  he  has  darkened  her  life  forever,  while  Kezal  cries  that  his 
happiness  is  now  complete.     [Lesson  XVII,  Course  IV.] 

64213     Cradle  Song     ("Hubicka")  Smetana 

"Hubicka"  is  a  Bohemian  opera  by  Smetana,  which  is  practically 
unknown  outside  of  Bohemia,  yet  in  his  use  of  folk  music,  Smetana 
has  in  this  work  given  us  a  wonderful  example  of  his  power  in  this 
style  of  composition.  This  Bohemian  Cradle  Song  is  sung  by  Ven- 
dulka.  (As  it  is  here  sung  in  English,  no  statement  of  the  words  is 
needed.     [Lesson  XIII,  Course  III ;  Lesson  XX,  Course  I.] 

35159     Swedish  Wedding  March  Sodermann 

August  Johann  Sodermann  (1832-1876)  was  one  of  the  best  Swed- 
ish composers  of  the  modern  day.  Most  of  the  Swedish  music  has 
been  strongly  influenced  by  that  of  France  and  Germany,  and  is  not 
as  unusual  or  distinctive  as  that  of  Russia  or  Norway.  This  march 
is  in  regulation  form  with  trio  and  is  based  on  a  Swedish  folk  air. 
Note  the  use  of  the  kettle-drums.  Compare  this  march  with  Grieg's 
Norwegian  Wedding  March.  [Lesson  III,  Course  I;  Lesson  XXV, 
Course  I.] 

60026     Spinning  Wheel  Spindler 

Fritz  Spindler  was  born  in  Wurzbach,  November  24,  1817,  and 
is  best  known  as  a  pianist  and  teacher,  being  particularly  associated 
with  the  city  of  Dresden,  where  he  located,  in  1841,  and  where  he 
remained  until  his  death,  December  26,  1905.  His  compositions  in- 
clude several  works  on  a  large  scale,  but  his  best  known  efforts  are 
his  short  pieces  for  piano,  which  are  used  frequently  for  teaching 
purposes.  He  was  very  enthusiastic  over  the  wind  instruments  of 
the  orchestra  and  left  many  short  compositions  for  flute,  oboe,  clarinet, 
horn  and  bassoon.  The  "Spinning  Wheel"  is  an  excellent  example 
of  that  class  of  music  which,  although  following  a  definite  form, 
gives  us  a  distinct  tonal  picture  of  the  busily  whirring  wheel.    This  is 

315 


Analyses 

an  excellent  piece  in  which  to  judge  of  the  gradations  of  tone  possible 
to  the  flute.     [Lesson  XIV,  Course  III.] 

63353     Two  Spanish  Selections  Spanish 

This  record  gives  us  an  excellent  example  of  the  instrumental 
music  of  Spain. 

(a.)  Melangia  is  a  short  composition  of  the  poetic  style  which 
reflects  the  homesickness  of  the  exile.  It  is  in  the  form  of  the  duet 
with  band  accompaniment;  the  principal  voices  are  played  on  the 
Moorish  pipes,  an  instrument  similar  in  tone  quality  to  the  English 
horn. 

(b.)  Alborada  Gallega  is  a  morning  song  from  Gallicia,  here 
played  by  the  Municipal  Band  of  Barcelona.  We  are  more  familiar 
with  the  Serenade  or  Evening  Song  than  with  the  Aubade,  which  was 
sung  in  the  early  morning.  Originally  this  Alborada  or  Aubade  was 
sung  by  the  Troubadours,  but  in  the  seventeenth  and  eighteenth  cen- 
turies, it  was  generally  played  by  the  instruments.  The  custom  of 
playing  a  morning  song  before  the  windows  of  the  fair  lady  is  still 
retained  in  southern  France  and  Spain.  One  of  the  most  famous 
examples  of  the  use  of  the  Aubade  is  the  beautiful  "Hark,  Hark,  the 
Lark,"  from  Shakespeare's  " Cymbeline. "     [Lesson  XVII,  Course  I.] 

64043     Teresita  Mia  Spanish 

This  song  is  an  excellent  example  of  the  popular  serenades  of 

the  mountain  people  of  the  Spanish  Pyrenees.    It  is  a  legendary  song, 

but  filled  with  the  melodic  charm  so  characteristic  of  the  love  songs 

of  the  Latin  races. 

Teresita  mia,  I  think  of  thee, 

When  the  hills  are  bathed   in   moonlight, 

I  see  thine  eyes  beaming  so  bright 

Sleep  well — Teresita  mia, 

Thou  heart's   delight, 

Yet  hear  in  thy  dreams 

The  woes  of  thy  lover. 

[Lesson  XVII,  Course  I.] 

64042     Linda  Mia  Spanish 

This  old  Spanish  dance  song  is  a  love  song  from  the  Pyrenees. 

My  fair  one  was  born  in  Castilla 

And  the  people  all  call  her  Linda. 

She  was  maid  to  a  noble  one  in  Salamanca, 

And  there  we  first  met. 

Ah !  won 't  you  dance  the  fandango 

With  me,  O  Linda  mia? 

316 


Analyses 


Alas,  my  fair  one  is  to  leave  me, 

To  seek  her  fortune,  the  world  to  see; 

What  shall  I  do,  my  Linda,  without  thee, 

How  shall  I  live  alone,  my  pet? 

O  yet  we  will  dance  the  fandango 

O  !  Linda  mia !  Linda  mia  ! 

[Lesson  XVII,  Course  I.] 

88019     Voce  di  primavera     (Voice  of  Spring)  Johann  Strauss 

This  beautiful  waltz  song  of  spring  is  one  of  the  best  concert 
numbers  ever  written  for  coloratura  soprano.  It  is  the  work  of 
Johann  Strauss  (1825-1899),  "The  Waltz  King." 

The  Southwind  has  come  breathing  perfume, 

The  birds  in  rapture  sing. 

The  flowerets  wake  from  Winter's  tomb 

And  smile  to  greet  the  Spring — 

Ah  !     Ah  !     Ah  ! 

In   brightest   verdure,   the   meadows   appear, 

And  all  our  grief  like  dreams  departs, 

The  gentle  Spring  does  ever  bring 

Happiness  and  love  to  all  our  hearts. 

All  the  day  the  sun's  bright  ray 

Smiles  on  the  Earth,  with  joy  and  mirth. 

Young  and  old  together  sing — 

To  hail  the  Spring!  the  gentle  Spring! 

[Lesson  IV,  Course  I;  Lesson  XIII,  Course  III.] 

17179     Allerseelen  Richard  Strauss 

As  a  composer  of  songs,  Richard  Strauss  well  deserves  the  great 
popularity  which  has  come  to  him.  One  of  the  most  beautiful  of  his 
early  songs  is  this  setting  of  "All  Souls'  Day,"  by  Herman  V. 
Gilm.*     The  words  are  : 

Place  on  the  mound  sweet  mignonette  before  us, 

The  last  red  blooming  asters  hither  bring, 
Let  mem  'ry  's  charm  our  early  love  restore  us, 

As  once  in  Spring. 

How  sweetly  blooms  each  grave  with  fragrant  flowers, 

Sacred  to  all  souls  of  our  dead,  this  day, 
Come  to  my  heart,  through  all  the  blessed  hours, 

As  once  in  May. 

Copy't   1905,  by  Oliver  Ditson. 

[Lesson  XXV,  Course  II.] 


*  It  will  be  remembered  that  the  first  of  November  is  a  day  set  apart  in  the  Church  for  the 
saying  of  prayers  to  all  saints,  while  the  day  following,  known  as  "All  Souls'  Day,"  is  supposed 
to  be  the  time  when  the  spirits  of  those  who  have  gone  before  return  to  earth  to  commune  with 
their  loved  ones. 

317 


Analyses 

17085  Bleking  Swedish  Dance 

This  simple  old  folk  dance  reflects  the  quiet  side  of  the  Swedish 
people.  It  is  in  simple  dance  form  and  is  danced  with  a  more  serious 
mien  than  the  Polka  or  Carrousel.     [Lesson  XXV,  Course  I.] 

17086  Carrousel  or  "Flying  Horse"  Swedish  Dance 

This  is  an  old  Swedish  dance  game,  in  which  the  dancers  imitate 
the  riders  on  a  "  merry-go-round. "  It  starts  slowly,  then,  as  the 
"wheels  go  round,"  the  movement  becomes  faster  and  faster  until 
the  players  are  quite  out  of  breath.     [Lesson  XIII,  Course  I.] 

17002     Reap  the  Flax  Swedish 

An  excellent  example  of  the  dance  songs  of  the  working  people 
is  this  Swedish  "dance  of  customs."  It  is  entitled  "Reap  the  Flax," 
because  it  was  originally  danced  during  the  harvest  time,  and  also 
because  it  imitated  the  reapers,  reaping,  gathering,  hackling,  spinning 
and  weaving  the  flax.     [Lesson  XIV,  Course  I.] 

17085     Mountain  Polka  Swedish 

The  polka,  one  of  the  popular  dances  of  Poland,  has  been  copied 
by  many  other  countries.  It  is  said  that  this  lively  dance  was 
originally  sung  to  verses  entitled  "Uncle  Nimra  bought  a  white 
horse."  The  polka  became  a  fashionable  court  dance  during  the 
reign  of  Louis  Phillippe,  but  it  is  as  a  dance  of  the  folk  that  it  has 
been  most  popular.  It  is  danced  in  Bohemia,  Poland,  Hungary, 
Sweden  and  Norway.  In  the  northern  countries  it  is  danced  in 
couples,  and  seems  to  represent  the  height  of  joyful  intoxication.  [Les- 
son XXV,  Course  I.] 
63429     Swedish  Folk  Songs  Swedish 

These  two  Swedish  folk  songs  are  sung  with  lute  accompani- 
ment, by  Torkel  Scholander,  a  famous  singer  of  Scandinavian  songs. 
The  first  of  these  is  a  folk  song  of  a  shepherd  boy,  who  dreams  as  he 
watches  his  flock  and  sees  the  beautiful  doves  soaring  in  the  blue  sky 
above  him.  It  is  of  the  type  of  legendary  folk  songs.  The  other  song 
is  a  setting  of  Bellman's  famous  Fredman's  Epistle,  No.  16. 

Karl  Nikarl  Bellman  (1740-95),  a  poet,  whose  genius  is  akin  to 
that  of  Marlowe,  is  one  of  the  most  unique  figures  in  Swedish  litera- 
ture. A  great  favorite  with  Gustavus  III,  who  gave  him  a  large 
pension,  Bellman's  verses  became  as  popular  at  court  as  among  the 
folk.    All  his  works  are  essentially  folk-music,  and  are  full  of  animal 

318 


Analyses 

spirits  and  originality,  although  he  frequently  borrowed  his  musical 
themes  from  German  and  French  songs.  His  greatest  works  were 
the  Epistles,  which  he  wrote  under  the  nom  de  plume  of  "Fredman." 
These  recount  the  experiences  to  be  found  in  the  Stockholm  taverns 
and  are  full  of  exquisite  simple  humor.  They  have  frequently  been 
compared  to  the  paintings  of  the  folk  life  in  the  late  Netherland  School 
of  painters.  The  "Fredman"  songs  are  always  sung  in  Sweden,  and 
are  popular  also  in  Germany,  as  well  as  throughout  Scandinavia. 
Bellman  originally  accompanied  his  songs  with  the  lute  as  Scholander 
does  in  this  song.     \ Lesson  XXV,  Course  I.] 

17003     Oxdansen  Swedish 

This  vigorous   Swedish   dance   was  usually   danced   only   by  the 
youths  and  men.     It  follows  the  customary  dance  form.     This  ar- 
rangement is  from  the  Burchenal-Crampton  Folk  Dance  collection. 
[Lesson.XXV,  Course  I.] 
Serenade  Anton  Emil  Titl 

31337     Flute  and  Viola 

35150  Flute  and  'Cello 
Anton  Emil  Titl  was  born  in  Moravia,  1809,  and  died  in  Vienna, 
1882.  He  is  chiefly  associated  with  musical  life  in  Vienna,  where 
he  was  Kapellmeister  of  the  Burg  Theatre,  from  1850  to  the  time 
of  his  death.  Among  his  short  compositions  the  most  popular  in  this 
Serenade.  We  have  chosen  these  records  for  the  different  combina- 
tions of  instruments  in  order  to  illustrate  the  tone  quality  of  the 
flute  in  contrast  with  the  strings  and  the  brasses.  [Lesson  V, 
Course  III.] 

17290     When  the  Nightingale  Doth  Sing    (Troubadour) 

Reinald  Werrenrath 

Among  the  twelfth  century  Troubadours  we  find  a  French  knight, 
Chatelain  deCoucy,  whose  tragic  fate  has  been  often  a  theme  for 
poets,  the  Ballade  of  Uhland  being  founded  on  his  history.  He  loved 
the  wife  of  another,  and  realizing  his  duty,  departed  for  the  Crusades 
where  he  lost  his  life.  To  comply  with  his  dying  request,  his  heart 
was  embalmed  and  sent  to  his  fair  mistress,  whose  husband  inter- 
cepted the  gift,  and  it  is  said  caused  it  to  be  served  to  his  wife  for 
dinner.  After  she  had  unsuspectingly  eaten  of  this  gruesome  dish,  her 
lord  informed  her  she  had  eaten  the  heart  of  her  lover.  To  this 
she  bravely  replied  that  as  she  had  consumed  that  which  she  most 

319 


Analyses 

dearly  loved  she  would  never  again  eat  of  anything  inferior,  so  she 
declined  all  food  and  shortly  after  died. 

This  song  is  said  to  have  been  inspired  by  the  love  of  deCouey  for 
this  lady.     [Lesson  V,  Course  II.] 

70050     Marche  Slave     Op.  31  Tschaikowsky 

This  popular  selection  was  written  in  1876,  the  year  of  the  war 
between  Turkey  and  Servia.  It  will  be  remembered  that  many  dem- 
onstrations of  Slavonic  patriotism  took  place  in  Russia  at  this  time, 
and  for  the  great  concert,  arranged  by  Nicholas  Rubenstein  for  the 
benefit  of  the  wounded  soldiers,  Tschaikowsky  wrote  the  great  Marche 
Slave.  The  composition  opens  writh  a  dirge-like  chant,  sung  by  the 
bassons,  to  the  accompaniment  of  the  double  basses;  presently  a  gay 
folk  song  is  heard  in  the  oboe,  carried  on  by  the  other  wood-winds, 
until  the  full  orchestra  takes  up  the  theme,  and  it  is  carried  to  a 
resounding  climax.  In  the  trio  of  the  Marche  notice  the  employment 
of  the  Russian  national  anthem,  which  again  is  triumphantly*  shouted 
by  the  brasses  in  the  coda  ending.  [Lesson  XXII,  Course  I;  Lesson 
VII,  Course  III;  Lesson  XVII,  Course  III;  Lesson  XXX,  Course 
III.] 
31739     Overture— 1812     (Op.  49)  Tschaikowsky 

This  popular  composition  was  written  by  Tschaikowsky,  in  1880, 
for  the  great  patriotic  festival  in  the  celebration  of  the  consecration 
of  the  Cathedral  of  Christ,  in  Moscow.  It  was  the  composer's  inten- 
tion to  depict  the  stirring  events  in  Russia  during  Napoleon's  cam- 
paign, in  1812.  It  will  be  remembered  that  after  his  victory  of 
Borodino,  the  army  of  Napoleon  marched  into  Moscow  and  took 
possession  of  the  Kremlin  or  citadel.  But  the  patriotic  Russians  set 
fire  to  their  town  during  the  night,  and  at  the  signal,  all  the  Russian 
peasantry  rose  against  Napoleon,  who  was  forced  to  retreat. 

This  overture  opens  with  a  Russian  hymn,  "God  Preserve  Thy 
People,"  sung  by  the  basses;  next  we  hear  the  Marseillaise  Hymn, 
which  depicts  the  victory  for  the  French,  and  after  the  conflict,  the 
great  Russian  national  anthem,  "God  Save  our  Czar,"  is  heard  in 
the  coda,  which  brings  the  work  to  a  close. 

It  is  said  that  the  French  soldiers,  during  the  Napoleon  Cam- 
paign, did  not  sing  the  Marseillaise,  and  as  the  Russian  Anthem  was 
not  written  until  1863,  Tschaikowsky  certainly  committed  an 
anachronism  in  their  use  here,  but  he  has  given  us  a  wonderful  picture 
of  Russian  patriotism.     [Lesson  XXI,  Course  II.] 

320 


Analyses 

61136     Duet— Pique  Dame  Tschaikowsky 

Tschaikowsky 's  opera,  "Pique  Dame,"  belongs  to  the  year  1890, 
and  is  one  of  the  last  operatic  works  of  the  great  Russian  composer. 
This  duet  is  sung  by  Lisa  and  Pauline  in  the  second  scene  of  the  first 
act  of  the  opera : 

It  is  twilight,  the  brightly  shining  clouds 
Which  shone  in  sun's  last  rays  do  fade, 

The  vale  lies  quiet  in  the  darkening  night. 
No  sound  disturbs  the  gentle  silence  here. 
The  birdlings  nestle  in  their  downy  beds, 
But  faint  is  heard  the  chirp  of  cricket  near. 

Copy 't  G.  Schirmer. 
[Lesson  XVII,  Course  IV.] 

31800     Adagio  Lamentoso     ("Pathetic  Symphony")  Tschaikowsky 

This  wonderful  finale  to  Tschaikowsky's  last  symphony  is  one 
of  the  most  beautiful  and  remarkable  dirges  in  all  musical  literature. 
The  Sixth  Symphony  was  produced  in  St.  Petersburg,  October  16, 
1893,  and  after  this  performance,  the  composer  spoke  of  the  work  as 
the  "Pathetic"  Symphony.  Three  weeks  from  the  date  of  its  first 
hearing,  the  work  was  again  given,  this  time  as  a  memorial  to  the 
dead  composer,  whose  sudden  demise  has  been  generally  believed  to 
have  been  suicide.  This  movement  is  well  fitted  to  be  the  "Swan 
Song"  of  the  composer,  for  as  one  critic  has  said,  "It  sings  of  the 
entombment  of  a  nation."  It  is  certainly  the  most  hopelessly  sad 
page  of  music  ever  written,  and  one  cannot  but  feel  that  it  not  only 
reflects  the  morbid  unhappiness  of  the  composer  himself,  but  also 
speaks  of  the  overwhelming  grief  of  the  Russian  people.  [Lesson 
XXII,  Course  II.} 

64189     Good  Bye,  Sweet  Day  Vannah 

A  charming  writer  of  popular  songs  is  the  American,  Kate 
Vannah,  whose  dainty  compositions  have  been  received  with  favor. 
An  excellent  example  of  her  style  is  this  setting  of  the  verses  by 
Celia  Thaxter.     [Lesson  II,  Course  I.] 

88127     Celeste  Aida     ("Ai'da")  Verdi 

The  most  famous  aria  for  tenor,  from  any  modern  opera,  is  the 
popular  Romanza,  from  the  first  act  of  Verdi's  "Ai'da."  The  scene 
shows  us  the  Hall  in  the  Memphis  palace  of  the  King  of  Egypt.  The 
young   warrior    Rhadames   has    returned    from    the    wars    victorious, 

321 


Analyses 

and  after  a  short  dialogue  with  Ramphis,  the  high  priest,  he  discloses 

his  love  for  the  captive  princess  Ai'da,  in  the  following  aria  : 

Kii  \HA\IES: 

Heavenly  A'ida,  beauty  resplendent, 

Radiant  Hewer,  blooming  and  bright; 
Queenly  thou  reignest  o'er  me  transcendent, 
Bathing  my  spirit  in  beauty's  light. 

Would  that  thy  bright  skies  once  more  beholding, 
Breathing  the  sofl  airs  of  thy  native  laud, 

Round  thy  fair  brow  a  diadem  folding, 

Thine  were  a  throne  next   the  sun  to  stand! 

[Lesson  XXI,  Course  IV.} 

35265     Triumphal  March     ("  Ai'da  ")  Verdi 

No  modern  operatic,  work  gives  ;i  greater  chance  for  the  display 
of  stage  splendor  than  does  Verdi's  great  opera,  "Ai'da."  This  march 
occurs  at  the  opening  of  the  second  scene  in  the  second  act.  Rhadames 
has  returned  from  the  war,  with  the  victorious  Egyptian  army,  and 
the  entire  Court  has  assembled  to  do  him  homage.  Notice  the  inter- 
esting use  of  the  trumpets  and  trombones  in  the  orchestration.  [Les- 
son XX,  Course  III ;  Lesson  XXI,  Course  IV.] 

89028     Duet— The  Fatal  Stone     ("A'ida")  Verdi 

This  beautiful  duet  makes  a  fitting  dramatic  climax  to  the  opera 
of  Ai'da,"  while  also  serving  as  an  excellent  example  of  the  use  of  a 
concerted  finale.  The  stage  is  arranged  in  two  parts,  so  that  we  see 
above  the  temple  of  Phtah,  crowded  with  the  priests  chanting,  as  the 
stone  is  laid,  which  seals  A'ida  and  Rhadames  in  their  rocky  tomb 
below.  We  see  them  united  in  their  last  hours  on  earth  as  they  sing 
this  wonderful  duet : 

Ehadames  (despairingly)  : 

The  fatal  stone  upon  me  now  is  closing! 
Now  has  the  tomb  engulf  d  me! 
The  light  of  day  no  more  shall  T  see! 
No  more  behold  A'ida! 
A'ida,  where  art  thou  now ! 
Whate'er  befall  me,  may'st  thou  be  happy! 
Ne'er  may  my  frightful  doom  be  told  to  thine  ear! 

What  moan  was  that? 
Ts't  a  phantom,  or  vision  dread? 
No!   'tis  a  human  being! 
Heaven!     A'ida! 

A'ida  : 
Yes! 

322 


Analyses 

Rhadames  (in  great  desperation)  : 
Thou,  with  me  here  buried ! 

Aida: 

My  heart  forboded  this,  thy  dreadful  sentence, 

And  to  this  tomb  that  shuts  on  thee  its  portal, 

I  crept,  unseen  by  mortal, 

Here,  free  from  all, 

Where  none  can  more  behold  us, 

Clasp  'd  in  thy  arms,  love, 

I  resolved  to  perish. 

Rhadames: 

To  die!  so  pure  and  lovely! 

In  all  thy  beauty  blooming, 

Fade  thus  forever! 

Thou,  whom  the  gods  alone  for  love  created  ; 

Yet  to  destroy  thee,  was  my  love  then  fated! 

Thou  shalt  not  die!  so  much  I  love  thee, 

Thou  art  too  lovely ! 

Aida  {transported)  : 

See'st  thou  where  death,  in  angel  guise, 

With  heavenly  radiance  beaming, 

Would  waft  us  to  eternal  joys, 

On  golden  wings  above! 

I  see  heaven 's  gates  are  open  wide 

Where  tears  are  never  streaming, 

Where  only  bliss  and  joy  reside. 

The  bliss  and  joy  of  never  fading,  endless  love ! 

[Lesson  XIX,  Course  II;  Lesson  XXI,  Course  IV.] 

35170     O  sommo  Carlo  (Oh,  Noble  Carlos)     ("Ernani*')  Verdi 

"Ernani,"  an  adaptation  of  Victor  Hugo's  great  drama,  "Her- 
nani,"  is  one  of  the  earlier  operas  of  the  great  Italian  genius, 
Giuseppe  Verdi. 

This  great  aria  occurs  at  the  end  of  Act  III.  The  King,  Carlos, 
knowing  that  his  life  is  in  danger,  has  hidden  himself  in  the  tomb  of 
his  ancestor,  Charlemagne,  in  the  crypt  of  the  Cathedral  of  Aix  la 
Chapelle. 

He  overhears  the  plotting  of  his  enemies,  who  have  conspired  to 
take  his  life,  but  at  this  dramatic  moment  the  booming  of  the  cannon 
announces  that  Carlos  has  been  proclaimed  Emperor.  He  comes 
forth,  surprises  the  conspirators  and  condemns  them  to  death.  The 
life  of  Ernani  is  spared  by  the  pleading  of  Elvira,  and  the  Emperor 
unites  them  in  marriage. 

(For  complete  story,  see  "The  Victor  Book  of  the  Opera.") 

[Lesson  XX,  Course  IV.] 

323 


Analyses 

35170     Ferma,  Crudele  (Stay  Thee,  My  Lord)     ("  Ernani  ")  Verdi 

This  dramatic  duet  occurs  in  the  last  scene  of  Verdi's  opera. 
"Ernani."  The  love  dream  of  Elvira  and  Ernani  is  awakened  by 
the  blast  of  a  silver  horn,  and  Ernani  recognizes  this  as  the  signal 
made  in  his  compact  with  Silva,  that  he  shall  give  his  life  on  Silva's 
demand. 

In  vain  Elvira  pleads  with  Silva  that  he  shall  spare  her  hus- 
band's life,  but  Ernani,  after  a  touching  farewell  to  his  wife,  ful- 
fils his  vow  by  a  blow  from  his  dagger,  and  Elvira  falls  lifeless  on 
his  dead  body.     [Lesson  VIII,  Course  I;  Lesson  XX,  Course  IV.] 

88030     IagoVCredo     (".Otello")  Verdi 

In  the  writing  of  both  "Otello"  and  "Falstaff"  Verdi  was  aided 
by  the  dramatic  genius  of  Arrigo  Boito,  himself  an  opera  composer 
of  no  mean  attainment.  In  arranging  Shakespeare's  "Otello"  Boito 
also  introduced  several  scenes  which  were  entirely  original.  Of  these, 
the  best  is  Iago's  Credo,  which  opens  the  second  act.  It  is  a  wonderful 
description  of  the  malign  Iago,  who  in  his  monologue  tells  all  his 
thoughts  and  feelings.     [Lesson  XXI,  Course  IV.] 

88214     Willow  Song     ("Otello")  Verdi 

This  beautiful  song  occurs  in  the  last  act  of  Verdi's  "Otello." 
when  Desdemona  says  that  her  mother  had  a  maid  called  Barbara, 
whose  lover  had  become  insane,  and  that  the  poor  creature  used  to 
sing  a  sad  song  called  "Willow,"  which  so  haunted  her  (Desdemona) 
that  she  must  sing  it. 

The  poor  soul  sat  sighing  by  a  sycamore  tree, 

Sing  all  a  green  willow; 
Her  hand  on  her  bosom,  her  head  on  her  knee, 

Sing  willow,  willow,  willow. 

The  fresh  streams  ran  by  her,  and  murmur  'd  her  moans ; 

Sing  willow,  etc. 
Her  salt  tears  fell  from  her,  and  soften 'd  the  stones; 

[Lesson  XXI,  Course  IV.] 

87017     La  donna  e  mobile  (Woman  is  Fickle)     ("Rigoletto";  Verdi 

Possibly  the  best  known  air  from  Verdi's  early  opera  "Rigoletto" 
is  "La  donna  e  Mobile,"  which  is  sung  by  the  Duke  at  the  opening  of 
Act  III.  The  scene  shows  us  an  inn,  in  a  lonely  spot  near  the  river. 
Hither  Rigoletto  comes  with  his  daughter  Gilda,  who  is  disguised  as 
a  boy.  It  is  her  father's  wish  that  she  may  see  the  false  Duke  as  he 
really  is.     It  is  not  long  before  the  Duke,  in  the  dress  of  a  common 

324 


Analyses 

soldier,  comes  to  the  inn  and  asks  for  wine.    He  then  begins  this  famous 
song: 

Duke: 

Woman  is  fickle,  false  altogether, 

Moves  like  a  feather  borne  on  the   breezes ; 
Woman  with  guiling  smile  will   e'er  deceive  you, 

Often  can  grieve  you,  yet  e'er  she  pleases 
Her   heart's   unfeeling,    false    altogether; 

Moves  like  a  feather  borne  on  the  breeze! 

Borne  on  the  breeze,  borne  on  the  breeze! 
Wretched   the   dupe   is,   who  when  she  looks   kindly, 
Trusts  to  her  blindly.     Thus  life  is  wasted! 

\et  he   must   surely   be   dull   beyond  measure, 
Who  of  love's  pleasure  never  has  tasted. 

Woman   is    fickle,    false    altogether, 

Moves   like   a  feather,   borne   on   the  breeze ! 

[Lesson  XX,  Course  IV.] 

88320     Monologo     ("  Rigoletto ")  Verdi 

In  many  parts  of  "Rigoletto"  Verdi  discloses  the  great  genius  which 
we  do  not  see  fully  revealed  until  ' '  Ai'da. ' '  The  monologue  for  Rigo- 
letto in  the  second  scene  of  the  first  act  is  such  an  instance.  Here  the 
true  character  of  the  poor  jester  Rigoletto  is  depicted  for  us  in  his 
remarkable  aria. 

Rigoletto ; 

Yon  assassin  is  my  equal — 

He  stabs  in  darkness, 

While  I  with  a  tongue  of  malice 

Stab   men   by   daylight! 

(He  thinks  of  Monterone's  curse) 

He  laid  a  father 's  curse  on  me     .     .     . 

{Continuing  in  a  burst  of  rage) 

Of  hideous   fate!      Cruel   nature! 

Thou  hast  doom'd  me  to  a  life  of  torment. 

I  must  jest,  I  must  laugh, 

And  be  their  laughing  stock! 

Yonder   the   Duke,   my  master, 

Youthful   and   brilliant,    rich    and   handsome. 

Tells  me,  between  sleeping  and  waking: 

"Come  buffoon,  I  would  laugh  now!" 

Oh  shame,  I  must  obey  him ! 

Oh  life  accursed !     How  I  hate  ye, 

Race   of  vile   and   fawning  courtiers! 

'Tis  my  only  joy  to  taunt  ye! 

For  if  I  am  vile,  'tis  to  your  vice  I  owe  it! 

(He  thinks  of  his  home  and  daughter) 

In  that  blest  abode  my  nature  changes! 

(Again  lie  remembers  the  curse) 

How  heavy  was  that  old  man's  curse! 

Still   I  hear  it;   'tis  ringing  in  my  ears! 

My  soul   is  troubled — fear  I  some  misfortune? 

Ah,  no  this  is  folly! 

[Lesson  XX,  Course  IV.} 

325 


Anal  v  s  e  s 

88018     Aria—  Ah!  Fors'  e  Lui     ("  La  Traviata")  Verdi 

This  popular  aria  for  coloratura  soprano  occurs  in  the  first  act 
of  "La  Traviata."  The  scene  shows  the  supper  at  Violetta's  home; 
after  the  vivacious  opening  chorus  sung  by  the  guests,  and  an  im- 
passioned love  duet  between  Violetta  and  Alfred.  Violetta  sings 
this  grand  scena,  which  has  become  the  favorite  show-aria  for  the 
concert  soprano. 

How  wondrous! 

His  words  deep  within  my  heart  are  graven ! 

No  love  of  mortal  yet  hath  moved  me. 

Shall  I  dare  distain  it, 

And  choose  the  empty  follies  that  now  surround  me? 

Ah,  was  it  he  my  heart  foretold,  when  in  the  throng  of  pleasure, 
Oft  have  I  joy'd  to  shadow  forth  one  whom  alone  I'd  treasure. 
He  who  with  watchful  tenderness  guarded  my  waning  powers, 

Strewing  my  way  with  flowers, 

Waking  my  heart  to  love ! 

Ah,  now  I  feel  that   'tis  love  and  love  alone, 

Sole  breath  of  all  in  the  life,  the  life  universal, 

Mysterious  power,  guiding  the  fate  of  mortals, 

Sorrow  and  sweetness  of  this  poor  earth. 

[Lesson  XX,  Course  IV.] 

890181 

168111    *-*uet — Home  to  Our  Mountains     ("  II  Trovatore  ")  Verdi 

"II  Trovatore,"  although  the  setting  of  a  libretto  which  is 
absurdly  impossible,  has  remained  a  popular  opera  on  account  of  the 
beautiful  Italian  melody,  with  which  Verdi  has  surrounded  it.  This 
famous  duet  is  sung  by  the  gypsy,  Azucena,  and  her  foster  son,  Man- 
rico,  in  the  prison  scene  where  they  are  under  sentence  of  death.  As 
the  curtain  rises  on  the  last  act,  Manrico  is  trying  to  comfort  the 
gypsy  with  the  assurance  that  they  will  soon  be  free  and  can  return 
to  their  mountain  home  together. 

Manrico: 

If  thy  love  remains  in  thy  bosom, 

If  thou  art  yet  my  mother,  oh,  hear  me! 

Seek  thy  terrors  to  number, 

And  gain  repose  from  thy  sorrows  in  soothing  slumber, 

Azucena: 

Yes,  I  am  grief-worn  and  fain  would  rest  me, 
But  more  than  grief  have  sad  dreams  oppressed  me; 
Should  that  dread  vision  rise  in  slumber 
Rouse  me !  its  horrors  may  then  depart. 

Manrico  : 

Rest  thee,  oh  mother!  I'll  watch  o'er  thee. 
Sleep  may  restore  sweet  peace  to  thy  heart. 

326 


Analyses 

Azucena  {dreaming)  : 

Home  to  our  mountain,  let  us  return,  love, 
There  in  thy  young  days  peace  had  its  reign  ; 
There  shall  thy  song  fall  on  my  slumbers, 
There  shall  thy  lute  make  me  joyous  again. 

Mankico: 

Rest  thee,  my  mother,  kneeling  beside  thee, 
1  will  pour  forth  my  troubadour  lay. 

Azucena: 

O  sing  and  wake  now  thy  sweet  lute's  soft  numbers, 
Lull  me  to  rest,  charm  my  sorrows  away, 

Both: 

Lull  (me  )  to  rest! 
(thee) 

[Lesson  VIII,  Course  I;  Lesson  XIX,  Course  II; 

Lesson  XX,  Course  IV.] 

16371     Miserere     ("  II  Trovatore  ")  Verdi 

This  arrangement  of  the  famous  duet  from  Verdi's  opera  "II 
Trovatore,"  is  for  cornet  and  trombone  and  gives  us  an  excellent 
opportunity  to  contrast  the  tone  quality  of  these  instruments.  [Les- 
son XXI,  Course  III.] 

35182     Concertino  for  Clarinet  von  Weber 

Few  great  composers  have  left  us  any  individual  solos  for  the 
wind  instruments.  This  Concertino  for  clarinet  by  von  Weber  is  one 
of  the  best  known  solo  works  for  that  beautiful  wind  instrument. 
Weber  shows  in  his  use  of  the  orchestra  in  all  his  works  a  marked 
predilection  for  the  clarinet,  and  beautiful  phrases  for  this  instru- 
ment are  found  in  all  Weber's  compositions.  All  the  registers  of  the 
clarinet  are  well  illustrated  in  this  beautiful  concertino.  [Lesson 
XVI,  Course  III.] 

62636     Overture     ("  Der  Freischiitz")  von  Weber 

With  his  opera,  "Der  Freischiitz,"  von  Weber  laid  the  founda- 
tion for  the  German  Romantic  Opera  School.  The  legend,  which 
is  the  basis  of  this  story  of  "The  Free-Shooter"  is  a  very  popular  one 
in  Germany,  being  practically  the  same  as  that  of  "Faust"  and  "The 
Flying  Dutchman,"  the  redeeming  power  of  woman's  love.  Although 
von  Weber  has  followed  the  general  outline  of  the  "sonata"  form 
in  this  overture,  he  has  also  incorporated  much  of  the  melodic  mate- 
rial of  the  opera. 

The  opening  theme  of  the  introduction  is  given  by  the  French 


Analyses 

horns,  and  is  the  same  melody  which  has  hecome  a  popular  church 
hymn;  the  main  part  of  the  overture  is  a  Vivace  movement,  with  the 
orthodox  contrasting  subjects,  and  their  usual  working  out  and  re- 
capitulation. The  coda  is  based  on  the  second  subject.  [Lesson  XIX, 
Course  III;  Lesson  XXVIII,  Course  III;  Lesson  VIII,  Course 
IV. \ 

74244     Through  the  Forest     (/^DerJFreischiitz  ")  von  Weber 

"Der  Freischiitz"  tells  us  of  the  old  German  legend  of  the  for- 
ester, who  sells  his  life  to  the  power  of  evil  for  the  magic  bullets  which 
always  hit  their  mark.  The  young  hunter  Max,  wishing  to  win  the 
hand  of  Agatha,  and  also  to  succeed  her  father  as  chief  forester,  is 
very  anxious  to  win  the  shooting  contest.  Therefore  he  consults  the 
Evil  One,  Zamiel,  obtains  the  magic  bullets,  and  is  saved  from  the 
curse  in  the  end  by  the  self-sacrificing  love  of  Agatha. 

This  aria  is  sung  by  Max  at  the  beginning  of  the  opera.  He  is 
filled  with  forebodings  about  the  contest  on  the  morrow. 


Max: 


O,  I  can  bear  my  fate  no  longer! 

E  'en  hope  is  banished  from  my  soul ! 
What  unknown  grief  thus  haunts  my  spirit, 

And  o'er  me  works  its  dark  control? 
Thro '  the  forest,  thro '  the  meadows, 

Joy  has  wont  with  me  to  stray, 
While  my  rifle  never  failing, 

Made  each  bird  and  beast  my  prey, 
When  at  length  from  chase  returning, 

Ere  home  rose  before  my  sight, 
Agnes  smiling  met  me, 

Clothed  in  beauty's  heavenly  light. 
But  now  am  I  by  Heaven  forsaken 

And  left — the  power  of  chance  to  know? 
Will  hope  's  long  slumber  ever  waken, 

Or  am  I  doomed  to  endless  woe? 
Now,  methinks,  beside  her  lattice, 

I  my  lovely  fair  one  see; 
While  her  ears  seem  fondly  list  'ning, 

Every  coming  sound   for  me: 
See,  she  fondly  waves  a  welcome, — 

Fancy's  eye  her  lover  sees; 
But  her  signal  gains  no  answer, 

Save  the  sigh  of  whispering  trees ! 
What  dark  'ning  power  is  ruling  o  'er  me  ? 

My  anxious  bosom  fear  hath  riven, — - 
Despair  hath  spread  her  snares  before  me : 

Does  fate  rule  blindly? 
Aid  me  Heaven ! 

[Lesson  VIII,  Course  IV. 

328 


Analyses 

64236     Caspar's  Air     ("  Der  Freischutz  ")  von  Weber 

In  von  Weber's  Opera,  "Der  Freischutz, "  we  have  the  simple 
pastoral  version  of  the  folk  tale  of  the  youth  who  sells  his  soul  to 
the  devil  for  magic  bullets  which  will  ever  shoot  the  mark.  The 
young  Free  Shooter,  Max,  being  anxious  to  win  the  hand  of  Agatha, 
the  daughter  of  the  chief  forester,  is  in  despair  that  he  cannot 
shoot  as  of  yore. 

Knowing  this,  the  evil  Caspar,  who  has  previously  made  a 
compact  with  Zamiel,  the  Evil  One,  hopes,  by  persuading  Max  to  come 
to  the  Wolf's  Glen  and  sign  the  compact,  that  he  may  himself  be 
freed  of  the  curse.  He  is  finally  able  to  induce  Max  to  meet  him  at 
Zamiel 's  abode,  and  promises  him  the  magic  bullets.  After  the  de- 
parture of  Max,  Caspar  gives  vent  to  his  joy  in  this  great  dramatic 

aria. 

Caspar  (alone)  : 

Hush!  hush!   that  no  one  may  alarm  thee! 
Hellish  lures  now  soon  will  charm  thee; 
Nothing  can  save  thee  now  from  the  chain. 
Surround  him,  ye  imps  who  in  darkness  still  fly. 
Already  fallen  he  strives  in  vain, 
Revenge,  revenge,  thy  triumph  is  nigh ! 

[Lesson  VIII,  Course  IV.] 

62636     Aria — Prayer  of  Agatha     ("cDer  Freischutz  ")  von  Weber 

This  great  aria  for  soprano  occurs  at  the  beginning  of  the  second 
act  of  Weber's  "Der  Freischutz."  The  scene  shows  the  interior  of 
the  forester's  home,  and  there  Annie  and  Agnes  are  together.  Annie, 
the  faithful  maid,  tries  to  console  her  mistress,  and  tells  her  that  her 
lover  will  surely  come  soon.     To  this,  Agnes  replies : 

Agnes  : 

Softly  sighing,  day  is  dying, 
Soar  my  prayer  heav'nward  flying! 
Starry  splendor  shining  yonder, 
Pour  on  us  thy  radiance  tender! 
How  the  golden  stars  are  burning 
Thro'  yon  vault  of  ether  blue, 
But  lo,  gath'ring  o'er  the  mountains 
Is  a  cloud,  foreboding  storm. 

Earth  has  lull'd  her  care  to  rest; 
Why  delays  my  loitering  love? 
Fondly  beats  my  anxious  breast : 
Where,  my  Rudolph,  dost  thou  rove? 
Scarce  the  breeze  among  the  boughs 
Wakes  a  murmur  thro '  the  silence, 
Save  the  nightingale  lamenting 
Not  a  sound  disturbs  the  night ! 

[Lesson  VIII,  Course  IV.] 

329 


Anal  y s  e s 

31689     Overture  Oberon  von  Weber 

The  overture  to  Oberon  was  von  Weber's  last  composition,  as 
he  died  in  London  a  few  weeks  after  the  first  performance  of  his 
Fairy  Opera  in  iSi'ti.  With  this  work  Weber  unlocked  the  nia^ie 
realms  of  Fairyland  into  which  Mendelssohn,  Wagner  and  other  great 
composers  have  since  led  us. 

The  overture  opens  with  the  tones  on  the  echo  horn,  suggesting 
the  magic  of  Oberon 's  magic  horn.  The  elfin  dance  begins  and  leads  us 
into  a  beautiful  song  of  love  sung  by  the  clarinets;  with  a  sudden 
crash  the  allegro  proper  commences;  the  first  subject  a  delightfully 
fresh,  spirited  melody,  being  followed  by  the  second  subject,  which  in 
the  opera  is  the  theme  of  Sir  ITuon's  love  song;  the  short  working 
out  reintroduces  these  subjects,  and  leads  to  the  coda,  where  the  great 
aria  of  Rezia,  "Ocean  Thou  Mighty  Monster,"  furnishes  the  melodic 
material.     [Lesson  XIX,  Course  III.] 

31787     Overture     ("  The  Flying  Dutchman  ")  Wagner 

Although  Wagner  does  not  use  his  idea  of  the  prelude  until  his 
opera  "Lohengrin"  was  produced  in  1850,  we  find  that  in  both  the 
overtures  to  "The  Flying  Dutchman"  and  " Tannhiiuser "  he  has 
given  us  a  complete  miniature  idea  of  his  drama,  in  tone. 

The  overture  to  "The  Flying  Dutchman"  begins  with  a  strong 
passage  for  full  orchestra  which  is  descriptive  of  the  storm  at  sea. 
We  hear  the  sinister  motive  of  the  curse  which  rests  on  the  Dutch- 
man, then  in  its  fury  the  storm  again  is  depicted,  the  curse  motive 
and  the  sailors'  chorus  being  woven  into  its  polyphonic  web.  But 
now,  as  a  voice  of  consolation,  comes  the  theme  in  the  wood-winds 
which  tells  of  the  redeeming  power  of  love,  for  the  Dutchman  may  be 
freed  from  his  curse  if  he  can  find  "a  woman  who  will  be  faithful 
unto  death."  The  storm  once  more  increases  in  fury,  but  the  theme 
of  redemption  becomes  stronger  and  stronger  until  it  finally  triumphs. 
[Lesson  XIII,  Course  IV.] 

74230     Recitative  and  Aria,  "  In  Ocean's  Deepest  Wave  "     ("The 

Flying  Dutchman")  Wagner 

Wagner's  great  "Flying  Dutchman"  was  inspired  by  the  stories 
told  him  by  the  sailors  when  he  was  crossing  the  North  Sea,  from  Riga 
to  London.  The  legend  of  "The  Wandering  Jew  of  the  Sea"  made 
a  great  impression  on  Wagner,  and  he  used  it  as  the  dramatic  material 
for  his  second  opera. 

330 


Analyses 

This  aria  occurs  in  the  first  act.  The  spectre  ship  of  the  "Flying 
Dutchman"  has  taken  shelter  in  the  harbor  of  a  Norwegian  fishing 
town,  and  the  cursed  Dutchman  here  will  again  try  his  quest  to  find 
a  woman  "faithful  unto  death,"  who  will  be  his  redeemer. 

Dutchman  : 

Engulf 'd  in  ocean's  deepest  wave, 

Oft  have  I  long  'd  to  find  a  grave ; 

But  ah !  a  grave,  I  found  it  not ! 

I  oft  have  blindly  rushed  along, 

To  find  my  death  sharp  rocks  among; 

But  ah !  my  death  I  found  it  not, 

And  oft,  the  pirate  boldly  daring, 

My  death  I've  courted  from  the  sword, 

Here,  cried  I,  work  thy  deeds  unspairing, 

My  ship  with  gold  is  richly  stor'd! 

Alas,  the  sea's  rapacious  son, 

But  sign'd  the  cross,  and  straight  was  gone. 

Nowhere  a  grave,  no  way  of  deatli ! 

Mine  is  a  curse  of  living  breath. 

Thee  do  I  pray, 

Bright  angel  sent  from  Heaven, 

Was  there  a  fruitless  hope  to  mock  me  given? 

When  thou  didst  tell  me  how  to  gain  release, 

A  single  hope  with  me  remaineth, 

A  single  hope  still  standeth  fast; 

When  all  the  dead  are  raised  again, 

Destruction  then  I  shall  attain. 

Ye  worlds,  your  course  continue  not ! 

Endless  destruction  be  my  lot ! 

[Lesson  XIII,  Course  IV.] 

88116     Senta's  Ballad     ("  The  Flying  Dutchman ")  Wagner 

This  aria  occurs  in  the  second  act  of  Wagner's  "Flying  Dutch- 
man." The  scene  opens  in  Daland's  home;  his  daughter,  Senta,  and 
her  friends  are  spinning  under  the  direction  of  Dame  Mary.  They  ask 
Senta  to  tell  to  them  of  the  story  of  the  "Flying  Dutchman,"  and  she 

begins : 

Senta: 

Yo-ho-hoe!     Yo-ho-hoe!     Yo-ho-hoe!     Yo-ho-hoe! 

Saw  ye  the  ship  on  the  raging  deep? 

Blue-red  the  canvas,  black  the  mast, 

On  board  unceasing  watch  doth  keep 

The  vessel's  master  pale  and  ghast! 

Hui!     How  roars  the  wind!     Yo-ho-hoe!     Yo-ho-hoe! 

Hui !     How  bends  the  mast!     Yo-ho-hoe!     Yo-ho-hoe! 

Hui!     Like  an  arrow  she  flies 

Without  aim,  without  goal,  without  rest! 

(She  gazes  at  the  portrait  ivith  growing  excitement.) 
Yet  can  the  spectre  seaman 
Be  freed  from  the  curse  infernal, 
Find  he  a  woman  on  earth 

331 


Analyses 

Who'll  pledge  him  her  love  eternal, 
Ah!  that  the  unhappy  man  may  find  her. 
I 'ray,  that  Heaven  may  soon 
In  pity  grant  him  boon! 

[Lesson  XIII,  Course  IV.] 

88057     Dich,  theure  Halle  (Hail,  Hall  of  Song)     ("Tannhauser")      Wagner 

The  Hall  of  Song  in  the  Wartburg  Castle  was  t lie  annual  meeting 
place  of  the  Minnesingers  of  Germany,  who  gathered  here  each  year  to 
take  part  in  the  annual  contest  of  soul;. 

This  great   aria,   sung  by   Elizabeth,   the   niece   of   the   Landgrave 
Hermann,   occurs   at   the   opening  of  Act   II   of  Wagner's   "Tann- 
hauser."    Elizabeth  has  come  to  the  hall   in   advance  of  the  others, 
hoping  to  meet  Tannhauser. 
She  sings: 

Elizabeth  : 

Oh,  hall  of  song,  I  give  thee  greeting! 

All    hail   to  thee,   thou  hallowed  place! 

'Twas  here  that   dream   so  sweet  and   fleet inir. 

Upon   my   heart  his   song   did   trace. 

But  since   by   him   forsaken 

A  desert  thou  dost  seem — 

Thy  echoes  only  waken 

Remembrance   of   a   dream 

But  now  the  flame  of  hope  is  lighted. 

Thy  vault  shall   ring  with  glorious  war: 

For   he    whose    strains    my   soul    delighted 

No    longer    roams    afar! 

[Lesson  XIII,  Course  IV.] 
17133     Pilgrims'  Chorus     ("Tannhauser")  Wagner 

This  arrangement  of  Wagner's  ever  popular  "Pilgrims'  Chorus," 
from  "Tannhauser,"  gives  an  unusual  example  of  the  deep  sonority 
of  the  basses,  which  in  this  arrangement  admirably  reflects  the  re- 
ligious character  of  this  remarkable  composition.  [Lesson  XVIII, 
Course  HI.] 
88154     Wolfram's  Aria     ("Tannhauser")  Wagner 

This  ever  popular  aria  for  baritone  in  its  rightful  place  in  opera 
is  taken  from  the  third  act  of  Wagner's  "Tannhauser."  The  faith- 
ful Wolfram  has  watched  with  Elizabeth  the  return  of  the  pilgrims 
in  the  sunset,  and  after  her  appeal  to  the  Virgin,  she  turns  and  climbs 
the  rocky  path  up  to  the  Wartburp;  Castle.  Wolfram  watches  her 
retreating  form,  and  then,  taking  his  minstrel  harp,  he  sings: 

Wolfram  : 

Like  Death's  dark  shadow,  Night  her  gloom  extendeth, 
Her  sable  wing  o'er  all  the  vale  she  bendeth; 
Her  soul  that  longs  to  tread  yon  path  of  light, 
Yet  dreads  to  pass  the  gate  of  fear  and  night 

332 


Analyses 

I  look  on  thee,  oh,  star  in  Heaven  the  fairest, 

Thy  gentle  beam  thro'  trackless  space  thou  bearest; 

The  hour  of  darkness  is  by  thee  made  bright, 

Thou  lead'st  us  upward  by  pure  light. 

O  ev'ning  star;  thy  holy  light 

Was  ne'er  so  welcome  to  my  sight, 

With  glowing  heart,  that  ne'er  disclosed, 
Greet  her  when  she  in  thy  light  reposed ; 
When  parting  from  the  vale  a  vision 
She  rises  to  an  angel's  mission. 

[Lesson  XIII,  Course  IV.] 

31779     Prelude     (Vorspiel)     ("Lohengrin")  Wagner 

It  was  with  this  work,  that  Wagner  first  used  the  overture  to 
prepare  the  audience  for  the  action  of  the  scene,  which  was  to 
follow,  so  he  deliberately  here  departed  from  the  use  of  the  orthodox 
form  of  overture,  and  in  this  Vorspiel  tells  us  of  the  descent  of  the 
Holy  Grail,  as  it  was  brought  by  the  angels  and  delivered  into  the 
hands  of  the  holy  Titurel,  who  built  for  its  shrine,  the  Castle  of 
Montsalvat.  One  writer  has  said  that  this  Vorspiel  is  "a  mighty 
web  of  sound  woven  on  the  single  theme  of  the  Holy  Grail."  "We 
hear  the  motive  at  first  softly  in  the  highest  register  of  the  divided 
violins ;  it  is  taken  up  by  the  deeper  strings,  and,  gradually  increas- 
ing in  volume,  it  is  finally  loudly  intoned  by  the  trombones ;  then  as 
silently  the  theme  dies  away  with  a  long  diminuendo  to  the  high 
tones  of  the  strings  again. 

"To  the  enraptured  look  of  the  highest,  celestial  longing  for  love,  the  clearest 
blue  atmosphere  of  Heaven  at  first  seems  to  condense  itself  into  a  wonderful, 
scarcely  perceptible,  but  magically  pleasing  vision ;  with  gradually  increasing  preci- 
sion the  wonder-working  angelic  host  is  delineated  in  infinitely  delicate  lines  as, 
conveying  the  holy  vessel  (the  Grail)  in  its  midst,  it  insensibly  descends  from  the 
blazing  heights  of  Heaven.  As  the  vision  grows  more  and  more  distinct,  as  it 
hovers  over  the  surface  of  the  earth,  a  narcotic,  fragrant  odor  issues  from  its 
midst;  entrancing  vapors  well  up  from  it  like  golden  clouds,  and  overpower  the 
sense  of  the  astonished  gazer,  who  from  the  lowest  depths  of  his  palpitating  heart 
feels  himself  wonderfully  urged  to  holy  emotions.  Imparting  comfort  the  nearer 
it  approaches,  the  divine  vision  reveals  itself  to  our  entranced  senses,  and  when 
at  last  the  holy  vessel  shows  itself  in  the  marvel  of  undraped  reality,  and  clearly 
revealed  to  him  to  whom  it  is  vouchsafed  to  behold  it,  as  the  Holy  Grail,  which 
from  out  of  its  divine  contents  spreads  broadcast  the  sunbeams  of  highest  love, 
like  the  lights  of  a  heavenly  fire  that  stirs  all  hearts  with  the  heat  of  the  flame 
of  its  everlasting  glow,  the  beholder's  brain  reels — he  falls  down  in  a  state  of 
adoring  annihilation.  With  chaste  rejoicing,  and  smilingly  looking  down,  the 
angelic  host  mounts  again  to  Heaven 's  heights ;  the  source  of  love,  which  had 
dried  up  upon  the  earth,  has  been  brought  by  them  to  the  world  again — the  Grail 
they  have  left  in  the  custody  of  pure-minded  men,  in  whose  hands  its  contents 
overflow  as  a  source  of  blessing  and  the  angelic  host  vanishes  in  the  glorious  light 
of  Heaven  's  blue  sky,  as,  before,  it  thence  came  down. ' ' 

[Lesson  III,  Course  III ;  Lesson  XXIX,  Course  III ;  Lesson  XIV, 

Course  IV.] 


A  n  a  I  y  s  e  s 

88038     Elsa's  Dream     ("  Lohengrin  ")  Wagner 

This  beautiful  aria  for  soprano  occurs  in  the  first  act  of 
"Lohengrin."  King  Henry  lias  culled  before  him  the  Court  of  Bra- 
bant, and  Elsa  is  told  that  she  must  answer  the  charges  brought 
against  her  by  Frederick  von  Telramund.     She  answers: 

Elsa: 

Oft  when  the  hours  were  lonely, 
I  unto  Heav'n  have  prayed, 
One  boon  I  ask 'd  for  only, 
To  semi  the  orphans  aid; 
I    prayed  in  tears  and  sorrow, 
Willi  heavy  heart  and  sore, 
Hoping  a  brighter  tomorrow 
Yet  was  for  us  in  store. 
Away  my  words  were  wafted, 
I  dreamt  not  help  was  nigh, 
But  one  on  high  vouchsaf'd  it. 
While  in  sleep  did  lie. 

{Grail  motive  heard  in  the  strings,  with  enthusiasm.) 
I  saw  in  splendor  shining 
A  knight  of  glorious  mien, 
On  me  his  eyes  inclining, 
With  tranquil  gaze  serene. 
A  horn  of  gold  beside  him, 
He  leant  upon  his  sword. 
Thus  when  I  erst  espied  him, 
'Mid  clouds  of  light  he  soar'd; 
His  words  so  low  and  tender, 
Brought  life  renew  'd  to  me. 
(With  rapture.) 

My  guardian,  my  defender, 
Thou  shalt  my  champion  be. 

[Lesson  XIV,  Course  IV.] 

61203     Swan  Song     ("Lohengrin")  Wagner 

This  beautiful  tenor  aria  occurs  in  the  first  act  of  "Lohengrin." 
The  knight  arrives  in  his  swan  boat  and  is  hailed  with  wonder  and  joy 
by  the  people.  As  the  knight  steps  from  the  skiff,  all  are  silent,  await- 
ing some  further  miracle.  Lohengrin  bends  toward  the  swan,  who 
draws  his  boat,  and  sings : 

Lohengrin  : 

I  give  thee  thanks,  my  faithful  swan' 

Turn  thee  again  and  breast  the  tide, 

Return  unto  that  land  of  dawn 

Where  joyous  we  did  long  abide, 

Well  thy  appointed  task  is  done! 

Farewell,   farewell!    my  trusty  swan! 
(To  the  King.) 

Hail,  gracious  sov 'reign! 

Victory  and  honor  by  thy  valor's  meed! 

Thy  glorious  name  shall  from  the  land 

That  chose  thee  ruler,  ne  'er  depart, 

334 


Analyses 

Lohengrin  : 

Ye  knights,  nobles  and  freemen  of  this  land, 
Guiltless  and  true  is  Elsa  of  Brabant ! 
Thy  tale  was  falsehood,  Count  Telramund, 
By  Heav'n's  assistance  all  thou  shalt  recant! 

[Lesson  XIV,  Course  IV.] 

31846     Bridal  Chorus     ("  Lohengrin  ")  Wagner 

This  popular  chorus  from  "Lohengrin"   is  sung  by  the  bridal 

procession  of  Lohengrin  and  Elsa,  as  they  lead  the  Swan  Knight  and 

his  bride  to  the  nuptial  chamber  at  the  beginning  of  the  third  act  of 

"Lohengrin." 

Chorus: 

Faithful  and  true  we  lead  thee  forth 

Where  love  triumphant,  shall  crown  ye  with  joy! 

Star  of  renown,  flow'r  of  the  earth, 

Blest  be  ye  both  far  from  all  life 's  annoy ! 

Champion  victorious,  go  thou  before ! 

Maid  bright  and  glorious,  go  thou  before ! 

Mirth  's  noisy  revel  ye  'e  forsaken, 

Tender  delights  for  you  now  awaken ; 

Fragrant  abode  enshrine  ye  in  bliss; 

Splendor  and  state  in  joy  ye  dismiss! 

Eight  Ladies   (passing  around  the  bridal  pair)  : 
As  solemn  vows  unite  ye 
We  hallow  ye  to  joy! 
This  hour  shall  still  requite  ye, 
When  bliss  hath  known  alloy ! 

[Lesson  XVIII,  Course  II;  Lesson  XIV,  Course  IV.] 

74130     Lohengrin's  Narrative     ("Lohengrin")  Wagner 

It  is  this  narrative  sung  in  the  finale  of  Wagner's  "Lohengrin" 
that  the  Swan  Knight  discloses  his  true  name  and  dwelling  place. 
Then  the  swan  boat  appears,  and  releasing  the  swan  from  the  fatal 
spell  of  Ortrud,  Lohengrin  delivers  Lisa's  brother  to  her  arms.  But 
she  falls  senseless  on  the  shore,  from  which  the  boat,  now  guided  by  a 
dove,  draws  Lohengrin  away  to  his  distant  home  on  Montsalvat. 

Lohengrin  : 

In  distant  land  by  ways  remote  and  hidden, 

There  stands  a  mount  that  men  call  Montsalvat; 

It  holds  a  shrine,  to  the  profane  forbidden : 

More  precious  there  is  nought  on  earth  than  that, 

And  thron  'd  in  light  it  holds  a  cup  immortal, 

That  whoso  sees  from  earthly  sin  is  cleans 'd; 

'Twas  borne  by  angles  thro'  the  heav'nly  portal — 

Its  coming  hath  a  holy  reign  commenced. 

Once  every  year  a  dove  from  Heav'n  descendeth, 

To  strengthen  it  anew  for  works  of  grace; 

'Tis  called  the  Grail,  the  pow'r  of  Heav'n  attendeth 

The  faithful  knights  who  guard  that  sacred  place. 

335 


Analyses 

He  whom  the  Grail  to  be  its  servant  chooses 

[a  armed  henceforth  by  high  invincible  might; 

All  evil  craft  its  power  before  him  loses, 

The  spirits  of  darkness  where  he  dwells  take  flight, 

Nor  will  he  lose  the  awful  charm  it  blendeth, 

Although  he  should  be  called  to  distant  lands, 

When  the  high  cause  of  virtue  he  defendeth; 

While  he 's  unknown,  its  spell  he  still  commands. 

By  perils  dread  the  holy  Grail  is  girded, 

No  eye  rash  or  profane  its  light  may  see; 

Its  champion  knight  from  doubtings  shall  be  warded, 

If  known  to  man,  he  must  depart  and  flee. 

Now  mark,  craft  or  disguise  my  soul  disdaineth, 

The  Grail  sent  me  to  right  yon  lady's  name; 

My  father,  Percival,  gloriously  reigneth, 

His  knight  am  I,  and  Lohengrin  my  name ! 

[Lesson  XIV,  Course  IV.] 

88092     Weiche,  Wotan,  Weiche    (Waver,  Wotan)    ("Rhinegold")   Wagner 

Erda's  great  warning  to  Wotan  occurs  just  before  the  end  of  Wag- 
ner's "Rhinegold."  Wotan  and  Loge  have  stolen  the  Rhine  gold  from 
the  dwarfs  of  Nibelheim,  and  Wotan  has  paid  it  to  the  giants  for  a 
ransom  for  Freia. 

The  giants  demand  of  him  the  ring  on  his  finger,  but,  knowing 
that  this  ring,  forged  from  the  Rhine  gold,  gives  to  its  wearer  the 
power  of  the  world,  Wotan  is  loathe  to  give  it  up.  Suddenly,  from  a 
cleft  in  the  rock,  appears  the  Goddess  Erda.  She  is  the  Goddess  of 
Wisdom,  and  as  all  power  and  wisdom  come  from  the  depths  of  the 
Rhine,  it  is  noticed  that  Wagner  surrounds  her  with  the  motive  he 
has  used  to  describe  the  mighty  river. 

She  warns  Wotan  of  the  curse  which  rests  on  the  gold  and  tells 
him  to  give  them  the  ring.  (The  aria  is  sung  by  Mme.  Schumann- 
Heink,  Wotan's  responses  by  Herbert  Witherspoon.) 

Erda   (stretching  her  hand)  : 
Waver,  Wotan,  waver! 
Quit  the  Ring  accursed! 
(She  continued  her  solemn   warning) 
Ruin  and  dismalest  downfall  wait  thee  in  its  wealth  : 

Wotan  : 

Who  speaks  such  menacing  words  ? 

Erda: 

Whatever  was.  was  I:   what  is,  as  well; 

What  ages  shall  work — all  I  show ; 

The  endless  world's  All-wise  one,  Erd  opens  thine  eyes. 

Three,  the  daughters  born  to  me 

E'er  the  world  was  made;    all   I  notice 

Xightly  thou  knowest  from  the  Nornir, 

But  hither  in  dire  danger  haste  I  to  thy  help. 

Hear  me!     Hear  me!     Hear  me! 

336 


Analyses 


All  that  exists,  endeth! 

A  dismal  day  dawns  for  the  Aesir! 

0  render  wisely  the  ring! 

(She  begins  to  sink  slowly  to  the  earth.) 
WOTAN : 

A  secret  spell  speaks  in  thy  words : 

Wait  and  impart  more  wisdom. 
Erda  (disappearing)  : 

I've  warned  thee  now :    thou  wott'st  enough : 

Pause  and  ponder  truth ! 

(She  completely  disappears.) 

[Lesson  XV,  Course  IV.] 

88276     Siegmund's  Love  Song     ("  Die  Walkiire/')  Wagner 

This  beautiful  love  song  occurs  at  the  end  of  the  first  act  of  Wagner's 

opera  "Die  Walkiire,"  which  is  the  second  part  of  "The  Ring  of  the 

Nibelungen."     The  scene  shows  us  the  woodland  hut  of  Hunding,  which 

is  built  around  an  ash  tree,  which  rises  through  the  center  of  the  roof. 

Thither  has  come  the  defenceless  Siegmund,  and  in  his  conversation 

with  Sieglinde,  the  unfortunate  captive  of  the  robber  Hunding,  it   is 

disclosed  that  Sieglinde  and  Siegmund  must  henceforth  belong  to  each 

other.     Siegmund  sings  this  impassioned  love  song  of  spring,  then  draws 

forth  the  sword  from  the  tree,  and  he  and  Sieglinde  go  out  into  the 

forest  together. 

Siegmund: 

Winter  storms  have  waned 

'Neath  the  winsome  moon, 

In  mild  ascendance 

Smileth  the  Spring; 

And,  swayed  by  zephyrs 

Soft  and  soothing, 

Weaving  wonders 

Lo!  he  wends. 

Through  wood  and  broadland 

Wafts  his  breathing, 

Widely  beam 

His  eyes  with  bliss. 

In  songs  of  birds  resounds 

His  silvery  voice, 

Pleasant  odours 

Pours  he  forth ; 

From  his  living  blood  outburst 

The  loveliest  blossoms; 

Verdant  sprays 

Upspring  at  his  voice. 

With  softly  wielded  sceptre 

Sways  he  the  world; 

[Lesson  I,  Course  II;  Lesson  XV,  Course  IV.] 
87002     Ho-yo-to-ho      ("Die  Walkiire ")  Wagner 

The  magnificent  battle-cry  of  the  Valkyrie  maidens  is  heard  sev- 
eral times  during  the  action  of  Wagner's  "Die  Walkiire."    It  is  first 


Analyses 

given  in  its  entirety  by  Brunnhilda  during  the  first  scene  of  the  second 
act  of  this  work.  Wotan  has  commanded  his  favorite  daughter,  Brunn- 
hilda, to  ride  to  the  conflict  between  Hunding  and  Siegmund,  and  to 
protect  the  Volsung  in  the  struggle.  As  she  leaves  her  father  and 
climbs  upward  over  the  rocks,  we  hear  the  battle-cry  of  the  Valkyries. 

Brunnhilde: 

Ho-yo-to-ho!     Ho-yo-to-ho!     Hei-aha! 

But  listen,  father!  care  for  thyself; 

For  a  storm  o  'er  thee  will  break ; 

Fricka,  thy  busy  wife,  approacheth  in  her  ram-impelled  car. 

Ha!  how  she  swings  her  golden  whip! 

The  frightened  goats  are  fainting  with  fear, 

Wheels  rattling  and  rolling  whirl  her  here  to  the  fight, 

At  such  a  time  away  I  would  be, 

Tho'  my  delight  is  in  scenes  of  war! 

Take  heed  that  defeat  be  not  thine, 

For  now  I  must  leave  you  to  fate! 

[Lesson  XVIII,  Course  II;  Lesson  XIII,  Course  III ; 

Lesson  XV,  Course  IV.] 
62693     Ride  of  the  Valkyries  Wagner 

This  famous  excerpt  from  Wagner's  "Ring  of  the  Nibelungen" 
occurs  as  the  introduction  to  the  third  act  of  Wagner's  "Die  Wal- 
kure." This  great  tone  picture  of  the  ride  of  the  war-like  Valkyrie 
maidens,  through  the  air,  serves  to  prepare  the  audience  for  the 
scene  on  the  Valkyrie  rock,  for  when  the  curtain  arises,  we  see  the 
sisters  on  their  winged  steeds  and  the  arrival  of  Brunnhilde,  with 
Seiglinda,  on  her  saddle  bow.  This  is  one  of  the  greatest  uses  of  the 
tone  color  of  the  violins  we  find  in  all  orchestral  literature.  [Lesson 
XVIII,  Course  II;  Lesson  XXIX,  Course  III;  Lesson  XV,  Course  IV.] 

74305     Wotan's  Farewell     ("  Die  Walkure ")  Wagner 

Wagner  once  said  that  the  saddest  music  he  ever  wrote  was  the 
last  scene  of  "Die  Walkure,"  where  Wotan  says  farewell  to  his  be- 
loved daughter,  Brunnhilde.  As  a  punishment  for  disobeying  him, 
and  for  guarding  Siegmund  in  the  conflict,  Wotan  decrees  that  Brunn- 
hilde shall  become  mortal.  He  will  put  her  into  a  deep  sleep,  and 
whoever  shall  awaken  her  shall  claim  her  for  his  mortal  bride.  No 
more  may  she  enter  Walhalla.  Brunnhilde  then  begs  him  to  grant 
her  request  that  only  a  fearless  hero  shall  find  her. 

Those  eyes  so  lustrous  and  clear, 

Which  oft  in  love  I  have  kissed, 

When  warlike  longings  won  my  lauding, 

Or  when  with  lisping  of  heroes'  leal  thy  honied  lips  were  inspired; 

Those  effulgent,  glorious  eyes, 

Whose  flash  my  gloom  oft  dispelled, 

When  hopeless  cravings  my  heart  discouraged, 

338 


Analyses 

Or  when  my  wishes  t  'wart  worldly  pleasure  from  wild  warfare  were  turning — 

Their  lustrous  gaze  lights  on  me  now  as  my  lips  imprint  this  last  farewell  I 

On  happier  mortal  here  shall  they  beam ; 

The  grief  suffering  god  may  never  henceforth  behold  them! 

Now  heart-torn  he  gives  thee  his  kiss, 

And  taketh  thy  godhood  away! 

[Lesson  XV,  Course  IV.] 
17174     Siegfried's  Horn  Call  Wagner 

There  never  was  a  more  beautiful  theme  written  for  the  French 
horn  than  the  joyous  horn  call  of  that  happy,  fearless  child  of  the 
woods,  the  boy  Siegfried,  whose  history  is  narrated  by  Wagner  in  "The 
Ring  of  the  Niebelungen."     [Lesson  XIX,  Course  III.] 

35246     Siegfried's  Death  March     ("  Die  Gotterdammerung  ")  Wagner 

This  wonderful  death  march  occurs  as  the  musical  interlude 
between  the  two  scenes  in  the  last  act  of  Wagner's  finale  to  "The 
Ring  of  the  Niebelungen."  After  the  treacherous  murder  of  Sieg- 
fried, by  Hagen,  the  men  at  the  command  of  King  Gunther  carry 
on  their  shields,  the  body  of  the  hero,  back  to  the  Hall  of  the 
Gibichungs.  The  sun  has  set  and  twilight  darkens  to  night,  a  dense 
fog  covers  over  the  Rhine,  and  by  means  of  this  music,  we  are  carried 
by  Wagner  on,  on,  to  the  castle  by  the  Rhine,  where  Gutrune  and 
Brunnhilde  are  awaiting  the  return  of  the  hunters.  In  this  music 
Wagner  has  epitomized  the  life  of  his  hero  in  tones  of  grandeur  and 
mighty  strength.  We  hear  those  motives  which  have  been  associated 
with  Siegfried's  life,  but  all  are  here  woven  into  a  polyphonic  web  of 
tone,  which  makes  this  "the  greatest  funeral  oration  in  all  musical 
literature."     [Lesson  XXIX,  Course  III;  Lesson  XV,  Course  IV.] 

88185     Immolation^Scene     ("  Die  Gotterdammerung ")  Wagner 

This  great  scene  occurs  at  the  last  act  of  Wagner's  final  opera 
in  the  ' '  Ring  of  the  Niebelungen. ' '  Brunnhilde,  realizing,  through  the 
death  of  Siegfried,  all  the  treachery  of  Hagen,  now  orders  a  great 
funeral  pyre  to  be  built  and  Siegfried's  body  placed  thereon.  She 
takes  the  ring  from  the  hero's  finger,  and  mounting  her  horse  Grani, 
she  takes  the  torch,  lights  the  pyre  and  rides  into  the  midst  of  the 
flames.  The  Rhine  overflows  its  banks,  the  Hall  of  the  Gibichungs 
is  destroyed,  while  in  the  distance  the  red  glow  of  the  burning 
Walhalla  tells  us  that  the  "Twilight  of  the  Gods"  has  come.  The 
Rhine  daughters  drag  Hagen  deep  into  the  depths  of  the  Rhine,  and 
holding  up  the  Ring  in  the  red  glow  of  the  burning  Walhalla  we 
see  that  through  the  sacrifice  and  love  of  Brunnhilde  the  gold  has 
been  redeemed. 

339 


Analyses 


Brunnhilde  : 

Draweth  near  in  gloom 
The  dusk  of  the  gods. 
Thus,  casting  my  torch, 
I  kindle  Valhalla's  tow'rs! 

(To  the  horse.) 

Grani,  my  horse,  greet  thee  again ! 

Wouldst  thou  know,  dear  friend, 

What  journey  we  follow? 

By  flame  illumined  lies  there  thy  lord, 

Siegfried,  the  star  of  my  life. 

To  meet  with  thy  master  neighest   thou   merrily  1 

Lo!  how  the  flame 

Doth  leap  and  allure  thee! 

Feel  how  my  breast  too  hotly  doth  burn ; 

Sparkling  fireflame  my  spirit  enfolds. 
O,  but  to  clasp  him — 
Recline  in  his  arms! 
In  madd'ning  emotion 
Once  more  to  be  his! 

Heiajaho!     Grane!     Greet  we  our  hero! 
Siegfried!     Siegfried!   see! 
Sweetly  greets  thee  thy  wife! 

[Lesson  XV,  Course  IV.] 
70080     Walter's  Prize  Song     ("  Die  Meistersinger  ")  Wagner 

The  great  prize  song  of  German  music  was  written  by  Wagner 

while  in  Paris,  an  exile  from  his  native  land.     It  is  the  most  popular 

aria  from  "Wagner's  one  comic  opera,  which  tells  us  of  the  customs  and 

manners  of  the  Meistersingers  of  Nurnberg  in  the  sixteenth  century. 

In  the  last  act  of  the  opera  takes  place  the  song  contest,  which  occurs 

on  the  banks  of  the  river  Pegnitz,  outside  of  the  town  of  Nurnberg. 

By  the  singing  of  this  song,  the  young  Walter  von  Stolzing  wins  the 

contest  and  the  hand  of  Eva,  the  maiden  he  loves. 

Walter   (who  has  ascended  to  the  platform  with  firm  and  proud 
steps)  : 
Morning  was  beaming  with  roseate  light, 
The  air  was  filled 
With  scent  distilled 
Where,  beauty  beaming, 
Past  all  dreaming, 
A  garden  did  invite. 

(The  masters  here,  absorbed,  let  fall  the  scroll  they  are  watching,  to  prove 
that  Walter  knows  the  song;  he  notices  it  without  seeming  to  do  so,  and  now 
proceeds  in  a  freer  style.) 

Wherein,  beneath  a  wondrous  tree 

With  fruit  superbly  laden, 

In  blissful  love-dream  I  could  see 

The  rare  and  tender  maiden, 

Whose  charms  beyond  all  price, 

Entranced  my  heart — 

Eva,  in  Paradise! 

340 


Analyses 

The  People  (softly  to  one  another)  : 

That  is  quite  different !     Who  would  surmise 
That  so  much  in  performance  lies? 

Walter  : 

Evening  fell  and  night  closed  around ; 

By  rugged  way 

My  feet  did  stray 

Towards  a  mountain, 

Where  a  fountain 

Enslaved  me  with  its  sound; 

And  there  beneath  a  laurel  tree, 

With   starlight  glinting  under, 

In  waking  vision  greeted  me 

A  sweet  and  solemn  wonder; 

She  dropped  on  me  the  fountain  's  dews, 

That  woman  fair — 

Parnassus'  glorious  Muse. 

(With  great  exaltation.) 
Thrice  happy  day, 

To  which  my  poet 's  trance  gave  place ! 
That  Paradise  of  which  I  dreamed, 
In  radiance  before  my  face 
Glorified  lay: 

To  point  the  path  the  brooklet  streamed : 
She  stood  beside  me, 
Who  shall  my  bride  be, 
The  fairest  sight  earth  ever  gave, 
My  Muse,  to  whom  I  bow, 
So  angel  sweet  and  grave. 
I  woo  her  boldly  now, 
Before  the  world  remaining, 
By  might  of  music  gaining 
Parnassus  and  Paradise. 

People  (accompanying  the  close,  very  softly)  : 
I  feel  as  if  in  a  lovely  dream, 
Hearing  but  grasping  not  the  theme! 
Give  him  the  prize ! 

Masters: 

Yes,  glorious  singer!     Victor,  rise! 
Your  song  has  won  the  Master-prize! 

[Lesson  XVIII,  Course  II;  Lesson  XVI,  Course  IV.] 

68210     Prelude     ("Tristan  and  Isolde  ")  Wagner 

The  greatest  love  story  ever  penned  is  that  which  Wagner  took 
from  the  old  Minnesinger  legend  of  Gottfried  von  Strassburg,  and 
gave  to  the  world  in  1865  as  "Tristan  and  Isolde."  The  prelude  to 
this  work  is  cast  in  much  the  same  mould  as  "Lohengrin";  beginning 
softly,    it   is    developed   through   a   long   crescendo   to    a    fortissimo 


Analyses 

climax,  and  then  as  slowly  dies  away  again.     The  whole  work  is  a 

polyphonic   web    of   tone    woven    on    the   themes   of   "Tristan"    and 

"Isolde,"  in  which  are  combined  the  motives  of  the  "Glance,"  the 

"Magic    Casket,"    the    "Love    Potion"    and    the    "Deliverance    by 

Death." 

Wagner's  own  description  of  the  Prelude  is  our  best  analysis  of 

this  great  work. 

"A  primitive,  old  love-poem  which,  far  from  having  become  extinct,  is 
constantly  fashioning  itself  anew,  and  has  been  adopted  by  every  European  lan- 
guage of  the  Middle  Ages,  tells  us  of  Tristan  and  Isolde.  Tristan,  the  faithful 
vassal,  woes  for  his  king  her  for  whom  he  dares  not  avow  his  own  love,  Isolde. 
Isolde,  powerless  to  do  otherwise  than  obey  the  wooer,  follows  him  as  bride  to  his 
lord.  Jealous  of  this  infringement  of  her  rights,  the  Goddess  of  Love  takes  her 
revenge.  As  the  result  of  a  happy  mistake,  she  allows  the  couple  to  taste  of  the  love- 
potion,  which,  in  accordance  with  the  custom  of  the  times,  and  by  way  of  precau- 
tion, the  mother  had  prepared  for  the  husband  who  should  marry  her  daughter 
from  political  motives,  and  which,  by  the  burning  desire  which  suddenly  inflames 
them  after  tasting  it,  opens  their  eyes  to  the  truth,  and  leads  to  the  avowal  that 
for  the  future  they  belong  only  to  each  other.  Henceforth  there  is  no  end  to  the 
longings,  the  demands,  the  joys  and  woes  of  love.  The  world,  power,  fame, 
splendor,  honor,  knighthood,  fidelity,  friendship,  all  are  dissipated  like  an  empty 
dream.  One  thing  only  remains:  longing, — longing,  insatiable  longing,  forever 
springing  up  anew,  pining  and  thirsting.  Death,  which  means  passing  away, 
perishing,  never  awakening,  their  only  deliverance.  .  .  .  Powerless,  the  heart 
sinks  back  to  languish  in  longing,  in  longing  without  attaining;  for  each  attain- 
ment only  begets  new  longing,  until  in  the  last  stage  of  weariness  the  foreboding 
of  the  highest  joy  of  dying,  of  no  longer  existing,  of  the  last  escape  into  that 
wonderful  kingdom  from  which  we  are  furthest  off  when  we  are  most  strenuously 
striving  to  enter  therein.  Shall  we  call  it  Death?  Or  is  it  the  hidden  wonder- 
world,  from  out  of  which  an  ivy  and  vine,  entwined  with  each  other,  grew  up  upon 
Tristan's  and  Isolde's  grave,  as  the  legend  tells  us." 

[Lesson  XVI,  Course  IV.] 

88058f"    Liebestod     ("Tristan  and  Isolde")  Wagner 

The  name  of  "Isolde's  Liebestod"  (or  Love  Death)  was  given  to 
the  closing  scene  of  the  music  drama  "Tristan  and  Isolde"  by  Franz 
Liszt.  The  scene  takes  place  in  the  courtyard  of  Tristan's  castle  in 
Brittany.  Overcome  with  the  excitement  and  joy  of  again  seeing 
Isolde,  Tristan  dies  in  her  arms  just  as  the  shouting  of  the  men  pro- 
claim the  arrival  of  the  boat  of  King  Mark,  after  a  short  conflict  in 
which  the  faithful  Kurwenal  is  fatally  wounded.  The  king,  with  Bran- 
gane  and  several  of  the  knights,  enters  to  tell  Tristan  he  is  forgiven 
and  is  to  return  to  Cornwall.  Isolde  then  raises  herself  and  sings 
her  last  farewell  to  her  lover  as  she  expires  on  his  dead  body.  This 
"Love  Death"  song  is  woven  of  the  themes  of  the  great  love  scene 
heard  in  the  second  act  of  the  opera,  ending  with  the  great  motif  of 
"Deliverance  by  Death." 

342 


Analyses 


Isolde  (unconscious  of  all  around  her,  turning  her  eyes  with  rising  inspiration 
on  Tristan's  body)  : 

Mild  and  softly  he  is  smiling; 

How  his  eyelids  sweetly  open! 

See,  oh   comrades,  see  you  not 

How  he  beameth  ever  brighter — 

How  he  rises  ever  radiant 

Steeped  in  starlight,  borne  above? 

See  you  not  how  his  heart 

With   lion  zest,  calmly  happy 

Beats  in  his  breast? 

From  his  lips  in  Heavenly  rest, 

Sweetest  breath  he  softly  sends. 

Harken,    friends! 

Hear   and    feel   ye    not? 

Is    it    I    alone    am    hearing 

Strains    so    tender    and    endearing? 

Passion   swelling,   all   things   telling, 

Gently   bounding,   from   him   sounding, 

In   me   pushes,   upward   rushes 

Trumpet    tone   that   round    me   gushes. 

Brighter   growing,    o'er    me    flowing, 

Are  these  breezes  airy  pillows  ? 

Are  they  balmy  beauteous  billows? 

How  they  rise  and  gleam  and  glisten! 

Shall  I  breathe  them?     Shall  I  listen? 

Shall   I   sip  them,   dive  within   them  ? 

To  my  panting  breathing  win  them? 

In  the  breezes  around,  in  the  harmony  sound, 

In  the  world's  driving  whirlwind  be  drown'd — 

And,  sinking,  be  drinking — 

In   a  kiss,   highest  bliss ! 

(Isolde  sinks,  as  if  travisfigured,  in  Brangane's  arms  upon  Tristan's  body. 
Profound  emotion  and  grief  of  the  bystanders.  Mark  invokes  a  blessing  on  the 
dead.) 

[Lesson  XVI,  Course  IV.] 
74144     Good  Friday  Spell     ("  Parsifal  ")  Wagner 

Wagner's  last  opera  is  a  setting  of  the  Grail  legend  of  Wolfram 
von  Eschenbach,  and  tells  ns  of  the  coming  of  the  deliverer  of  the 
Grail,  ' '  Parsifal. ' '  This  beautiful  ' '  Good  Friday  Spell ' '  is  taken  from 
the  third  act.  The  scene  shows  the  hermit  hut  of  Gurnemanz,  and  the 
meadows  and  fields  which  lead  to  the  rocky  heights  of  Montsalvat,  the 
castle  of  the  Grail. 

Here,  after  years  of  search,  the  Knight  Parsifal  has  found  his 
way.  He  is  recognized  by  the  aged  Gurnemanz,  who  hails  with  joy 
the  return  of  the  sacred  spear  borne  now  in  the  hands  of  the  Grail's 
chosen,  Parsifal.  Kundry  comes  forward  in  the  guise  of  the  peni- 
tent, bathes  the  feet  of  the  knight,  and  dries  them  with  her  unbound 
hair,   while   Gurnemanz  anoints  Parsifal   with  holy  oil   and   declares 

343 


Analyses 

him  to  be  the  King  of  the  Grail.    As  they  look  out  upon  the  fields,  a 
strange  miracle  seems  to  take  place,  which  Gurnemanz  thus  describes: 

GURNEMANZ:. 

That  is  Good  Friday  's  spell,  my  lord ! 
Parsifal  : 

Alas,  that  day  of  agony ! 

Now  surely  everything  that  thrives, 

That  breathes  and  lives  and  lives  again, 

Should  only  mourn  and  sorrow  .' 
Gurnemanz : 

Thou  see  'st,  that  is  not  so. 

The  sad  repenteth  tears  of  sinners 

Have  here  with  holy  rain 

Besprinkled  field  and  plain, 

And  made  them  glow  with  beauty. 

All  earthly  creatures  in  delight 

At  the  Eedeemer  's  trace  so  bright 

Uplift  their  pray'rs  of  duty. 

To  see  Him  on  the  Cross  they  have  no  power: 

And  so  they  smile  upon  redeemed  man, 

Who,  feeling  freed,  with  dread  no  more  doth  cower. 

Through  God's  love-sacrifice  made  clean  and  pure: 

And  now  perceives  each  blade  and  meadow-flower 

That  mortal  foot  to-day  it  need  not  dread; 

For,  as  the  Lord  in  pity  man  did  spare, 

And  in  His  mercy  for  him  bled, 

All  men  will  keep,  with  pious  care, 

To-day  a  tender  tread. 

Then  thanks  the  whole  creation  makes, 

With  all  that  flow  'rs  and  fast  goes  hence, 

That  trespass-pardoned  Nature  wakes 

Now  to  her  day  of  Innocence. 

[Lessoii  XVI,  Course  IV.] 
31735     Procession  of  the  Knights     ("Parsifal")  Wagner 

This  beautiful  orchestral  excerpt  takes  place  in  the  third  act  of 
Wagner's  last  opera,  "Parsifal."  The  aged  Gurnemanz  recognizes 
in  the  strange  knight  who  appears  at  his  hut  on  Good  Friday  morn, 
the  heaven-sent  deliverer,  Parsifal.  The  knight  is  anointed  as  the 
King  of  the  Grail,  and,  robed  in  the  sacred  garments,  Parsifal,  with 
Gurnemanz  and  Kundry,  starts  for  the  Grail  Castle,  high  on  the 
mountain  above  them.  As  the  wonderful  scene  unfolds,  we  follow 
them  up  over  the  rocky  heights  into  the  castle  where  the  knights  are 
gathering.  This  music,  the  procession  of  the  knights,  is  one  of  the 
greatest  religious  compositions  which  has  ever  been  conceived. 
[Lesson  XXIII,  Course  III ;  Lesson  XVI,  Course  IV.] 
74100     All  Through  the  Night  Welsh 

This  song  is  set  to  an  old  Welsh  air,  originally  known  as  "Poor 
Mary  Ann"  ("Ar  Hyd  y  Nos"  in  Welsh).  It  is  a  most  interesting 
example  of  the  earliest  folk  song;  the  first  phrase  of  four  measures 

344 


Analyses 

being  here  twice  repeated.  A  simple  way  to  outline  this  form  is  to 
number  the  first  phrase  No.  1,  the  second  phrase  (which  differs  in 
melodic  or  rhythmic  character  from  the  first)  No.  2,  then  we  will  find 
that  the  representative  type  of  simple  folk  song  follows  this  pattern : 
1-1-2-1.     [Lesson  XIII,  Course  I;  Lesson  XXVII,  Course  I.] 

17180    Men  of  Harlech  Welsh 

This  song,  which  is  the  national  anthem  of  Wales,  dates  from 
the  fifteenth  century.  Harlech  is  the  name  of  a  small  town  on  the 
Welsh  coast,  where  is  located  a  famous  fourteenth  century  castle, 
which  for  many  years  held  out  against  the  Yorkist  invaders.  In 
1468  the  castle  was  forced  to  surrender.  This  song  dates  from  that 
day.  The  English  words  are  by  John  Oxenford.  [Lesson  XXVII, 
Course  I.] 

64141     Mentra'Gwen  Welsh 

This  charming  old  Welsh  serenade  belongs  to  the  class  of  ' '  legend- 
ary folk  songs. ' '    This  English  translation  is  by  Walter  Maynard : 

The  stars  in  Heaven  are  bright 
Lovely  Gwen,  lady  mine ! 
The  moon  is  full  tonight, 
Lady  mine ! 

O  deign  to  smile  upon  me, 
Cast  but  one  kind  look  on  me 
While  here  I  wait  upon  thee, 
Longing  for  thee,  lady  mine ! 

The  night  wind  passing  by 
Lovely  Gwen,  lady  mine ! 
To  thee  wafts  many  a  sigh, 
Lady  mine! 

The  flowers  around  are  sleeping, 
And  pearly  tears  are  weeping, 
While  I  my  guard  am  keeping, 
Longing  for  thee,  lady  mine ! 

[Lesson  XXVII,  Course  I.] 

74051     Souvenir  de  Moscow  Wieniawski 

Henri  Wieniawski  (1835-1880)  was  a  famous  Polish  violinist, 
who  spent  much  of  his  life  touring  throughout  Europe  as  a  virtuoso. 
He  came  to  America,  in  1872,  with  Anton  Rubinstein.  While  all  of 
his  works  were  written  with  the  thought  of  giving  the  greatest  possible 
technical  opportunity  to  the  performer,  Wieniawski  has  also  used 
the  rhythms  and  characteristic  melodies  of  his  native  land.  This 
composition  is  very  free  in  form ;  it  incorporates  many  Polish  and 
Russian  characteristics,  but  it  also  illustrates  the  different  technical 
possibilities  of  the  violin.     [Lesson  XXIII,  Course  I.] 

345 


Analyses 

16882     The  Watch  on  the  Rhine     (1854)  Carl  Wilhelm 

This  German  patriotic  song  is  one  of  the  best  examples  we  have 
of  "National  Patriotic"  compositions.  It  was  written  by  Carl  Wil- 
helm, the  director  of  a  German  choral  society  in  Crefeld.  During  the 
Franco-Prussian  War  "The  Watch  on  Rhine"  became  the  National 
Hymn  of  Germany,  and  its  composer  was  rewarded  in  1780  by  Em- 
peror William  I  with  a  gold  medal  and  a  government  pension.  [Les- 
son XIX,  Course  I.] 

17179     Zur  Ruh,  zur  Ruh     (To  rest,  to  rest)  Hugo  Wolf 

Hugo  Wolf   (1860-1902)    is  only  now  beginning  to  receive  the 

recognition  which  is  due  his  great  genius,  for  as  a  composer  of  song, 

no  musician  since  Schumann  has  equaled  him.     The  great  English 

authority,  Ernest  Newman,  declares  that  Wolf  is  the  greatest  song 

writer  the  world  has  ever  seen  and  ranks  his  works  above  those  of 

Schubert  and  Schumann,  comparing  Wolf's  work  in  song  literature 

as  being  the  same  as  that  of  Wagner's  in  the  drama.     This  beautiful 

song  was  written  in  1883,  after  the  death  of  the  composer's  father. 

It  is  a  setting  of  the  poem  by  Justinius  Kerner  (1786-1862). 

To  rest,  to  rest, 
My  toil  is  over. 
May  slumber  blest, 
Mine  eyelids  cover. 

Lead  me  tonight, 

Ye  powers  immortal, 

Into  the  light, 

Thro  '  midnight 's  portal. 

In  dreams  apart, 

From   cares   that   grieve   me, 

The  mother  heart 

Will  there  receive  me! 

[Lesson  XXV,  Course  II.] 

35270     Intermezzo     ("  The  Jewels  of  the  Madonna  ")  Wolf-Ferrari 

No  work  of  modern  days  has  met  with  such  immediate  success 
as  "The  Jewels  of  the  Madonna,"  which  was  given  its  initial  per- 
formance by  the  Chicago  Opera  Co.,  in  January,  1912.  The  com- 
poser of  this  work  is  Ermanno  Wolf-Ferrari  (1875),  who  is  one  of 
the  most  unique  geniuses  of  the  present  time.  Brought  up  in  the 
strict  contrapuntal  school  of  Rheinberger,  in  Germany,  Wolf-Ferrari 
obtained  his  operatic  education  under  the  late  Verdi  and  the  result 
is  a  combination  of  technical  skill  and  melodic  beauty,  which  is  rare 
and  wonderful. 

346 


Analyses 

In  this  work  Wolf-Ferrari  has  given  us  the  story  of  a  common- 
place incident  of  every-day  life,  in  Naples,  which  reflects  all  the  folk 
music  of  this  interesting  place.  The  work  opens  without  an  orches- 
tral overture,  but  there  are  beautiful  entr'actes  or  intermezzi  be- 
tween each  act.  It  will  be  recalled  that  this  is  a  favorite  custom  of 
Italian  composers,  the  Intermezzo  from  "Cavalleria  Rusticana"  be- 
ing a  striking  example.  [Lesson  XXVI,  Course  II;  Lesson  XXIV, 
Course  IV.] 

89057     Duet     ("  Secret  of  Suzanne  *')  Wolf-Ferrari 

This  charming,  graceful  duet,  almost  reminiscent  of  Mozart  in 
its  idyllic  beauty,  is  from  Wolf-Ferrari's  one-act  musical  setting  of 
Goliseiani's  comedy,  "The  Secret  of  Suzanne." 

Suzanne: 

T  seem  to  live  again 
Each  precious  moment 
Of  that  passionate  idyl. 

Gil: 

There  in  the  garden — 

Suzanne: 

Bathed  in  moonlight — 

Gil: 

Many  the  sighs — 

Suzanne: 

And  few  the  words — 

I  shunned  you — 

****** 
Gil: 

I  took  that  first  kiss  in  secret! 

Suzanne: 

You  stole  it  from  me! 

Gil: 

But  repaid  you  with  interest. 
1  was  a  thief,  but  an  honest  one. 

Both: 

Sweetest   memories, 
Alluring  enchantment 
Of  a  paradise 
That  brought  us  bliss ! 

[Lesson  XXIV,  Course  IV.] 

70031     At  the  Fountain  Zabel 

This  is  a  charming  tone  picture,  descriptive,  as  its  title  implies, 
of  the  play  of  the  fountain.  It  gives  one  an  excellent  idea  of  the 
possibilities  of  the  harp.  Zabel  (1822-1883)  was  a  Berlin  composer  of 
many  ballets,  dances  and  military  marches.    [Lesson  XI,  Course  III.] 

347 


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*Apthorp  (W.  F.).—  The  Opera,  Past  and  Present.    Scribner's,  1901. 
*Elson    (Arthur). — A   Critical   History   of    Opera.    Page,   Boston. 
*Guerber  (H.  A.). — Stories  of  Famous  Operas.     Stories  of  Popular 
Operas.     Stories  of  Wagner  Operas. 
Gilman    (Laurence). — *Aspects    of    Modern    Opera.      John    Lane, 
1909.     *The   Music   of  To-morrow.     John   Lane,    1907.      <  De- 
bussy's "Pelleas  and  Melisande."    Schirmer,  1907.    *"SaIome," 
by  Richard  Strauss.     John  Lane,  1907. 
*Henderson  (W.  J.). — Massenet  and  His  Operas. 
Hogarth    (George). — Memoirs    of    the    Music    Drama.      2    Vols. 

Bentley,  London,  1838. 
Hutcheson  (Ernest). — Guide  to  "Electra."    Schirmer,  1910. 
*Mason  (Henry  L.).     Opera  Stories.     Mason,  1912. 
**Newman  (Ernest). — Gluck  and  the  Opera.     Putnam. 

Paget   (Violet). — Studies  of  Eighteenth  Century  Music  in  Italy. 
Unwin,  London,  1887. 
**Singleton    (Esther). — A.  Guide    to    the    Opera.      **A    Guide    to 

Modern  Opera. 
**Streatfield   (R.  A.). — The  Opera.     Lippincott,   1910. 
**Upton  (G.  P.).— The  Standard  Operas.     New  Ed.     McClurg,  1906. 
**Victor  Book  of  the  Opera. 
Wagner. — See  page  352. 


353 


Examples  of  Form 


Folk  Dances 

Page 

Danish Ace  of  Diamonds 27 

English May  Pole  Dance 51 

Morris  Dance 51 

Hungarian Czardas 39 

Irish St.  Patrick's  Day 47 

Italian Tarantella .30 

Norwegian Mountain  March 44 

Russian Kamarinskaia 27,  41 

(Molodka 41,  162 

I  Sun  in  the  Sky,  Stop  Shining.  .  .41,  162 
Scotch Highland  Fling 50 

Bleking 45 

Swedish Oxdansen 45 

Mountain  Polka 45 

Reap  the  Flax 27 

Folk  Dance  Song 

French Amaryllis 34,  165 

Irish St.  Patrick's   Day 27,  47 

Italian Tarantella  Napolitana 30 

Polish Krakowiak 43 

Na  Wawel .  ._ 43 

Russian Let  Joy  Abide 162 

Swedish Folk  Song  (Bellman) 45 

Customs  of  the  People 

German Two  Christmas  Songs 36 

Italian Tarantella    27 

Norwegian Mountain  March 44 

Wedding  March 44 

Swedish Reap  the  Flax 44 

Wedding  March 27 

Legendary  Folk  Song 

Arne .The  Lass  With  the  Delicate  Air 51 

English Drink  to  Me  Only  With  Thine  Eyes.  .  51 

German Christmas  Hymn 36 

Tannenbaum  36 

Schon  Rottraut    18 

Foster  (American) .  .  .  Old  Folks  at  Home 54 

My  Old  Kentucky  Home 54 

354 


Examples     of     Form 
Legendary  Folk  Song— Continued 

Page 

French Bergere  Legere 34 

Grodski  (Russian) .  .  .The  Sea  Gulls'  Cry 17,  41 

Irish Molly    Bawn 47 

Italian Santa   Lucia 30 

O  Sole  mio 29 

Minnesinger Summertime 59,  71 

Norwegian Ole,  Ole 44 

Astri,  mi,  Astri 44 

Scotch Jock  o'  Hazeldean 50 

Loch  Lomond 50 

Silcher  (German) ....  The  Loreley 36 

Spanish Linda  Mia 32 

Teresita  Mia 32 

Troubador When  the   Nightingale  Doth  Sing  ....   71 

All  Through  the  Night 25,  48 

Welsh Mentra  Gwen 48 

Patriotic  Songs 

Irish The  Minstrel  Boy 47 

The  Wearing  o'  the  Green 47 

The  Harp  that  Once  Thro'  Tara's  Halls .  .  47 

Italian Garibaldi    Hymn 30 

Luther  (German) ....  Eine  feste  Burg    36 

Welsh Men  of  Harlech 48 

Wilhelm Watch  on   the  Rhine 36 

National  Expression 

Berlioz  (Hungarian) .  March    Rakoczy 12,  39 

Bizet  (Spanish) Habanera  (Carmen) 15 

Brahms Hungarian  Dances 39,  108 

Cadman  (Indian) Two  Indian  Songs 54 

Coleridge-Taylor  .  .  .  Deep  River  (Negro) 54 

Cui Orientale 113 

Dvorak Als  die  alte  Mutter 37,  117 

Largo,  "The    New  World    Symphony." 

117,  152,  175 

German Liebesfreud 36 

Grieg All  his  works 44,  115 

Herbert Dagger  Dance 130,  136,  160 

Rubinstein Toreador  et  Andalouse 113 

Schumann Gypsy  Chorus 20 

Two    Grenadiers 34,  95 

Smetana All  his  works 37,  59,  149,  215 

Tschaikowsky All  his  works 41,  110,  113 

143,  154,  175,  215 

355 


K  x  a  m  p  I  e  s     o  J      F  o  r  m 
Chant 

Page 

.1  ewish Birchos  Kohanim 02 

Kawakores    Rohe  Adre 62 

Greek Hymn   to  Apollo (14 

Kiiiowkon 64 

Kyrie  Kekraka 64 

Gregorian Offertorio  e  Communione 59 

Kyrie  Eleison 67 

Exultate  Justi 67 

Mediaeval  Counterpoint 

Gabrieli Filiae  Jerusalem 72 

Old  English Sumer  is  Icumen    In 72 

Dances  of  the  Classical  School 

Gluck Ballet,  "Iphigenia  in  Aulis" 81 

Bach Bourree 78,  1 65 

Bach Gavotte    78 

Gluck Gavotte,   "Paris  and  Helen" 81,  146 

Gossec Tambourine 59,  141 

Gretry Gavotte 59,  141 

Haydn Minuet 168 

Mozart Minuet 83 

Classic  Song 

Arne The  Lass  with    the  Delicate  Air 51 

Bach Ave  Maria 78 

Beethoven Adelaide  86 

Haydn My  Mother  Bids  Me  Bind  My  Hair.  .  .  82 

Art  Song  and  Art  Ballad 

Balfe Come  Into  the  Garden,  Maud 16 

Barnby Voice   of   the  Western  Wind 17 

Brahms Lullaby 108 

In  the  Churchyard 108 

Cadman The  Moon  Drops  Low 54 

From  the  Land  of  the  Sky  Blue  Water.  .   54 

Damrosch Danny  Deever 130 

German,  Ed Rolling  Down  to  Rio 126 

Grieg Cradle  Song 115 

Ich  liebe  Dich 115 

Massenet Elegie 78 

Mendelssohn O  Wert  Thou  in  the  Cauld  Blast  ....    17 


Examples     of     7;  o  r  m 
Art  Song  and  Art  Ballad—Continued 

Page 

Rimsky- Korsakoff  .  .Song  of  Shepherd  Lehl 113 

Schumann Gypsy  Life 20 

Two  Grenadiers 34,  95 

"Schubert Ave  Maria 142 

Erl   King 91 

Serenade 91,  142 

Who  is  Sylvia? 91 

Strauss Allerseelen 119 

Vannah Good-bye,   Sweet  Day 13 

Wolf Zur  Run 119 

Imitation  in  Music 

Adolph Birds  of  the  Forest 22 

Damare The   Wren 150 

David Thou  Brilliant  Bird 22 

Dell'acqua The  Swallows 13 

Flotow Spinning  Wheel  Quartet,  "Martha"  ....   20 

Gossec Tambourine 59,  141 

Handel And 'the  Trumpet  Shall  Sound.  .  .  157,  165 

Italian La  Mandolinata 13 

Mendelssohn Spinning  Song 14,  144 

Rameau Nightingales'  Passion  Song 75,  187 

Saint-Saens Tarantella  for  Flute  and  Clarinet 153 

Spindler Spinning  Wheel 150 

Schubert,  Franz  .  .  .  .The  Bee 12 

Strauss Voce  di   Primavera 15,  22,  149 

Zabel At  the  Fountain 147 

Poetic  Thought 

Bach Air  for  G  string 78 

Chaminade The  Flatterer 123 

Chopin Etude,  op.  10,  No.  5 98 

Prelude,  op.  28,  No.  24 98 

Debussy En  Bateau 123 

Dvorak Humoresque 117,  141 

Hasselman Prayer 147 

Herbert Badinage    21 

Hubay Zephir 141 

Liszt Liebestraum     21 

MacDowell Woodland    Sketches 130 

Mendelssohn Farewell  to  the    Forest 155 

Spinning  Song 144 

Spring    Song 95,  139,  140 

357 


Examples     of     For  in 
Poetic  Thought— Continued 

Page 

Pinsuti Spring  Song 155 

Rubinstein Melody  in  F 12 

Saint-Saens "Le  Cygne" 142 

Schumann "Vogel  als   Prophet  " 95 

Schubert,  Franz  ....  The  Bee  12 

Spanish Alborada 32 

Melangia 32 

Titl Serenade 142 

Tschaikowsky Adagio  Lamentoso 113 

Wieniawski Souvenir  de  Moscow 43 

Wolf-Ferrari Intermezzo  fiom    "The   Jewels   of   the 

Madonna" 228 

Marches 

Chopin Funeral  March 159 

Elgar Pomp  and  Circumstance 12G 

Grieg Norwegian  Wedding  March 44 

Handel Dead  March,  "Saul" 7G 

Meyerbeer "L'Africaine" 160,  204 

Saint-Saens Marche  Heroique 123 

Sodermann Swedish  Wedding  March 14,  45 

Tschaikowsky Marche  Slave 41,  143,  154,  175 

Verdi Triumphal  March,  "Aiida" 223 

Wagner Siegfried's  Death  March 172,  212 

Wagner March  of  the  Knights,  "Parsifal"  .  .  160,  214 

Intermezzi 

Mascagni "Cavalleria  Rusticana" 121,  136,  178 

Massenet Meditation,  "Thais" 110,  139 

Wolf-Ferrari "The  Jewels  of   the  Madonna" 228 

Vocal  Introductions  to  Opera 

Leoncavallo Prologue,  "I  Pagliacci" 121,  228 

Mascagni Siciliana,  "Cavalleria  Rusticana" 228 

Selections  from  Symphonies 

Beethoven Excerpts  from  C-minor  Symphony.  .  .  .  169 

Dvorak Largo    from   "New  World    Symphony" 

117,  152,  175 
Goldmark Bridal    Song   from   "The   Rustic  Wed- 
ding  Symphony" 21,  119 

Haydn Symphony  No.  6  ("Surprise") 168 

Tschaikowsky Finale,  "Pathetic"  Symphony 113 

358 


Examples     of     Form 
Overtures 

Page 

Beethoven "Leonora,  No.  3" 86,  169,  193 

Berlioz "Carnaval  Romain" 98,  170 

Goldmark "Sakuntala" 119 

Humperdinck "Hansel  and  Gretel" 1 19,  219 

Mendelssohn "Midsummer  Night's  Dream"  .  .  95,  136,  170 

Nicolai "Merry  Wives  of  Windsor" 217 

Smetana "Bartered  Bride" 37,  215 

Tschaikowsky "Overture,  1812" 110 

Von  Weber "Der   Freischutz" 153 

"Oberon" 156 

Wagner "The  Flying  Dutchman" 208 

"Lohengrin" 139,  172,  209 

"Tristan  and  Isolde" 214 


Excerpts  from  Operas  and  Oratorios        sAenafygseesn 

Bilfe "The  Bohemian  Girl" 240 

Beethoven "Fidelio"    241,  242 

Bellini "Norma" 242 

"La  Sonnambula" 243 

Bizet "Carmen" 245,  246 

Boito "Mefistofele"    246 

Charpentier "Louise" 248 

Donizetti "Lucia  di  Lammermoor" 252,  253 

Flotow "Martha" 257,  258 

Gluck "Alceste"    261 

"Eurydice" 261 

Goldmark "Queen  of   Sheba" 263,  264 

Gomez "II  Guarany" 264 

Gounod "Faust"    265,  266 

"The  Redemption" 266 

Handel "Rinaldo" 272 

"Judas   Maccabseus" 270 

"Messiah" 270,  272 

"Xerxes" 272 

Humperdinck "Hansel  and  Gretel" 276,  277 

"Koenigskinder" 278 

Massenet "Herodiade" 286 

"Jongleur  of  Notre  Dame" 286 

"Thais" 286,  287 

Mendelssohn "Elijah" 287 

"St.  Paul"    288 

Meyerbeer "Les  Huguenots" 290 

"Le  Prophete" 292 

359 


K  x  (i  m  pies     of     F  o  r  in 

Excerpts  from  Operas  and  Oratorios        SAn?ysein 

Mozart "Don  Giovanni" 293 

"Magic  Flute" 294,  295 

"Marriage   of   Figaro" 295 

••Titus" 295,  296 

"Gloria,  Twelfth  Mass" 293 

Ponchielli "La  Gioconda" 300,  30] 

Puccini "La  Boheme" 30] 

"Madame    Butterfly" :!(>•-' 

"Tosca" 302,  303 

Rossini "Barber  of  Seville" 304,  305 

"William  Tell" 306 

"-Stabat    Mater" 304 

Saint-Saens "Samson  and  Delilah" 338,  309 

Smetana "Bartered  Bride" 3L5,  316 

"Hubicka"   316 

Verdi "Aida" 322,  324 

"Ernani"    324 

"Otello" 325 

"Rigoletto" 325,  326 

"La  Traviata" 327 

"II  Trovatore" 327,  328 

Von  Weber "Der  Freischiitz" 32S,  330 

Wagner "The  Flying   Dutchman" 331,  332 

"Lohengrin"    334,  337 

"Die  Meistersinger" 341,  342 

"Parsifal" 344,  345 

"Ring  of  the  Niebelungen"  336,337,33S,339 

"Tannhauser" 333,  334 

"Tristan  and  Isolde" 312,  344 

Wolf-Ferrari "The  Secret  of  Suzanne" 348 

"Jewels  of  the  Madonna" 317,  348 


:»;o 


Pronunciations 


Pronunciations  of  Names  of  Artists 


Acerbi    {Ah-cher'-bi) 
Alda  (Ahl'-da) 
Amato  {Ah-mah'-toh) 
Andreeff  (An-dree'ff) 
Ancona  {Ahn-koh' -nah) 
Badini   {Bah-dee'-nee) 
Balalaika   {Bal-lah-lie'  -kali) 
Barbaini  {Bahr-byan'-ee) 
Beddoe  (Bed'-doh) 
Boninsegna  {Bo-neen-sayn'-yah) 
Calve  (Kahl-veh') 
Campanari    {Kahm-pahn-ah'  -ree] 
Carre  {Kahr-ray') 
Caruso  (Kah-roo'-soh) 
Cigada  (See-gah'-dah) 
Clement  (Klaim-ong')  ("ng" 

only  partly  sounded) 
Corsi  {Kor'-see) 
Dalmores  {Dal-mo'-reli) 
de  Gogorza  {Deh  Goh-gort'-zah) 
de  Luna  {deh  Loo' -nah) 
de  Pachmann   {deh  Pahk'-man) 
Destinn  {Dess'-tinn) 
Eames  {Aymz) 
Elman  {Ell'-mahn) 
Farrar  {Fair'-rahr) 
Francesco  ( Frahn-chayss' -koh ) 
Gadski  {Gahd'-skee) 
Galvany  {Gahl-vah'-nee) 
Gautier  {Goh' -tee-ay) 
Gerville-Reache 

{Zher'-veel  Ray-ahsh') 
Giacomelli    {Jeeah-koh-mel'-lee) 
Gialdini  {J eeahl-dee' -nee) 


Gilibert  {Zlu  el-ih-bear') 

Goritz  {Go'-riiz) 

Griint'eld  {Groon-feld) 

Gluck  {Glook) 

Ilambourg  {Hahm-boorg) 

Hamlin 

lluguet  {Oo-geh') 

Jadlowker   {Y ad' -low f -her) 

Jose  {Hoh-zay') 

Journet  {Zhur-nay') 

Juch  {Yuke) 

Kreisler  {Cry'-zlcr) 

Kubelik  {Koo' -bay-leek) 

Lejeune  {Luh-zhouen') 

Lemmone  {Lem-mo'-neh) 

Martin 

Marsh 

Matzenauer  {MahV-zen-aucr) 

McCormack 

Mileri  {Mee-ler'-ee) 

Minolfi  {Meen-oV-fee) 

Nebe  {Nay'-buh) 

Ottoboni  {Ot-to-bo'-ni) 

Paoli  {Pow'-oh-lee) 

Padere  wski   ( Pah-day -re  ff'-skee) 

Pasquale    {Pahs-quah'-lay) 

Pini-Corsi  {Pee-nee-Kor' -sih) 

Plancon  {Plahn-son') 

Powell 

Reiss  {Rice) 

Ruffo  {Roo'-foh) 

Sammarco  {Sahm-mar' -koh) 

Sangiorgi  {Sahn-jor'-jee) 

Sassoli  {Sass'-oh-li) 


361 


Pronunciations 


Schumann-Heink 

(Shoo-mahn-Hynk') 
Scipioni  (Shee-pee-oh' '-nee) 
Scotti  (Scot'-tee) 
Segurola   (Say-goo-roh'-lah) 
Sembrich  (Z emu' -rig) 
Sillich  (Sil'-lik) 
Sirota  (Zee-roh'-tah) 
Slezak  (Slay'-tsahk) 
Spencer 
Tamagno  {Tahm-mahn'-yoh) 

Pronunciations  of 

Arne  (Am) 

Bach  (Bahkh) 

Balfe  (Balf) 

Barnby 

Beach 

Beethoven  (Bay' -tow- fen) 

Bellini  (Bell-leen'-ee) 

Berlioz  (Bair-lee-oh') 

Bizet  (Bee-zeh') 

Boi'to  (Boh'-ee-toh) 

Brahms  (Brahmz') 

Charninade    (Sham-mee-nahd' ) 

Charpentier  ( Shahr-pahn-tee-ay 

Chopin  (Sho-pan') 

Coleridge-Taylor 

(Cole' -ridge  Tay-lor] 
Cui  (Eooe') 
Damare 

Damrosch  (Dahm'-rohsh) 
David  (Dah-veed') 
Debussy   (Deh-bu-see') 
Dell'Acqua  (Dell  Ahk'-wah) 
Donizetti   (Doh-nee-tzet'-tee) 
Dvorak  (Dvor'-zhak) 
Elgar  (El'-gahr) 
Faure  (Fohr) 


Tetrazzini   (Tet-trah-tzee'-nee) 

Trentini  (Tr en-tee' -nee) 

Van  Rooy  (Vahn  Roy') 

Vessella  (Vessel' -lah) 

Viafora  (Vee-ah-fohr'-ah) 

Wheeler 

Williams 

Witherspoon 

Zaccaria  (Zak-kah-ree'-ah) 

Zerola  (Zer'-o-lah) 

Zimbalist  (Zim'-bahl-ist) 

Names  of  Composers 

Flotow  (Floh'-toh) 

Gabrieli  (Gahb-ree-el'-lee) 

Gluck  (Glook) 

Goldmark  (Gold'-mahrk) 

Gomez  (Goh'-meUi) 

Gossec  (Gos'-ekh) 

Gounod  (Goo-noh') 

Gretry  (Gray' -tree) 

Grieg  (Greeg) 

GrSdski  (Grod-skee) 

Handel  (Hen'-dell) 

Hasselmans  (Hahs'-sel-man) 

Haydn  (High'-dn) 

Herbert 

Hubay  (Hoo'-by) 

Humperdinck    (Room' -per -dink 

Leoncavallo 

(Lay-ohn-kah-vahl'  -low 
de  Lisle  (Bay  Leel') 
Liszt  (List) 
Loewe  (Loeh'-vey) 
Luther  (Loo'-ter) 
MacDowell 

Mascagni  (Mas-kahn'-nyee) 
Massenet  (Mass'n-nay') 
Mendelssohn   (Men'-d'l-sohn) 


362 


Pronunciations 


Meyerbeer  (Mey'-er-baer) 

Mozart  (Moh'-tsart) 

Nevin 

Nicolai  (Nee'-koh-ly) 

Offenbach  (Of '-fen-bach) 

Orth  (Ohrt) 

Pinsuti  (Pin-soo'-tee) 

Ponchielli   (Pong-kyel'-lee) 

Puccini  (Poo-chee'-nee) 

Rameau  (Rah-moh') 

Rimsky-Korsakoff 

(Rim'-skee  Kor'-sa-kof) 
Rossini  (Roh-see'-nee) 
Rubinstein    (Rue'-bin-stine) 
Saint-Saens  (Sah-sahnz') 
Schubert  (Shoo' -b air t) 
Schumann  (Shoo'-mahn) 


Silcher  (Zill'-cher) 

Smetana  (Smay-tah'-nah) 

Soderman  (Soe'-der-mahn) 

Spindler  (Spind'-laer) 

Strauss  (Strauz) 

Titl  (Tee' 41) 

Tschaikowsky  ( Chi-koff'-skee ) 

Vannah 

Verdi  (V air' -dee) 

Von  Weber  (Foil  Vay'-ber) 

Wagner  (Vahg'-ner) 

Wienawski  (Vee-nee-oivs'-kee) 

Wilhelm  (Veil' -helm) 

Wolf  (Vollf) 

Wolf-Ferrari  ( Vollf -Fair-ah'-ree ) 

Zabel  (Tsah'-bell) 


Pronunciations  of  Opera  Titles 

Alceste  (Ahl-chest'-ay) 

Africana  (Af-ree-kah'-nah) 

A'ida  (Ah-ee'-dah) 

Barbiere  di  Siviglia  (Bahr-beay'-reh  dee  See-vel'-yah) 

Boheme  (Bow-ehm') 

Carmen  (Kar'-men) 

Cavalleria  Rusticana  (Kah-vahl-lay-ree'-ah  Roos-tee-kah' -nah) 

Contes  d 'Hoffman  (Kohnt  dojf'-mahn) 

Das  Rheingold  (Dahss  Rine'-gold) 

Die  Walkure  (Dee  Val-kueh'-reh) 

Donne  Curiose  (Don'-neh  Koo-reh-oh' -say) 

Don  Carlos  (Bon  Kahr'-los) 

Don  Giovanni  (Don  Joh-vahn'-nee) 

Don  Pasquale  (Don  Pahs-qiiah'-lch) 

Elisir  d'Amore  (Ay-lee-zeer'  dam-oh'-reh) 

Ernani  (Ayr-nah'-nee) 

Falstaff  (Fahl'-staff) 

Faust  (Foivst) 

Fidelio  (Fee-deh'-lee-oh) 

Figlia  del  Reggimento  (Feel' -yah  del  Ray-jee-men' -toh) 


363 


P  r  onunciatio  n  s 

Plauto  Magico  (Flau'-toh  Maj'-ee-koh) 

Fliegende  Hollander  (Flee'-gen-deh  HolV-lan-der) 

Freischiitz  (Fry'-shi  utz) 

Giojelli  della  Madonna  (Gee-oh-yeV-lee  del-lah  Utah-don'-ah) 

Gioconda  (Jeedh-kon'-dah) 

Hansel  und  Gretel  (Hahn'-sel  oondt  Gray'-tel) 

Herodiade  I  Ay'-roh-dt  <  -ahd') 

Iphigenia  in  Aulis  (Ee-fee-zhay'-nee-ah  in  Au'-liss) 

II  Guarany  {El  Gair-ah-nay) 

II  Pensieroso  (El  Pen-see-ay-roh'-soh) 

Jongleur  (Zhong-gleur')  de  Notre  Dame. 

Judus  Maccabseus  (You'-dahss  Mah-kah-bay'-uhss) 

Konigskinder  (Kd'-nieks-kinder) 

L 'Enfant  Prodigue  (Lahn-fahn'  Pro-deeg') 

La  Juive  (Lah  Zhoo-eev') 

Lakme  (Lak-may') 

Les  Huguenots  {Lay  Hueg-gnoh') 

Lohengrin  (LoW -en-grin) 

Louise  (Loo-eez') 

Lucia  di  Lammermoor  (Loo-chee' -ah) 

Lucrezia  Borgia  (Loo-crcli'-tzee-ah  Bor'-jah) 

Manon  Leseaut  (Man -on'  Lcs-koh') 

]\Iasaniello  (Mah-san-nycl'-loh) 

Martha  (Mahr'-thah) 

Mefistofele  (May-phee-stoh'-feh-leh) 

Meistersinger  (My'ster-singer) 

Mignon  (Mecn-yon') 

Natoma  (Nali-to'-mah) 

Norma  (Nor'-mah) 

Nozze  di  Figaro  (Not-zeh  dee  Fee/-gar-oh) 

Oberon  (O'-Txr-on) 

Orfeo  ed  Euridiee  (Or-feh'-oh  ayd  Ay-oo-ree-dee'-cheh) 

Otello  (Oh-teV-oh) 

Pagliacei  (Palil-yat'-cliee) 

Parsifal  (Par'-see-falil) 

Perle  du  Brezil  (Pairl  d<«>  Bray-zeeV) 

Philemon  et  Baucis  (Fee-lay -mohn'  ay  Bow-see') 

Pique  Dame  (Peek  Dahm) 

Prophete  (Pro-feh'f) 

364 


Pronunciations 

Puritani  (Poo-rcc-tah'-nee) 

Regina  di  Saba  (Ray-jee'-nah  dee  Sah'-bali) 

Rheingold  (Rine'-gold) 

Rinaldo  (Ree-nahl'-do) 

Ring  des  Nibelimgen  (Ring  dess  Nce'-bcl-oong-en) 

Roberto  II  Diavolo  (Roh-ber' '-toh  eel  Dcc-ah'-voli-loh) 

Roi  de  Lahore  (Rooak'  deli'  Lali-oliv') 

Roi  d'Ys  (Rooah'  deez) 

Sakuntala  (Sak-koon-tah'-lah) 

Salome  (Sal-oh-may') 

Samson  et  Dalila  (Sam-sohn'  ay  Dah-lee-lah') 

Segreto  di  Suzanna  (Say-grch'-toh  dee  Soo-zahn'-nah] 

Semiramide  (Say-mcc-ralim'-ce-dch) 

Siegfried  (Seeg'-freed) 

Sonnambula  (So)i-nahm' '-boo-lah) 

Stabat  Mater  (Stah'-baht  Mak'-ter) 

Tannhauser  (Tahn'-hoy-zcr) 

Thais  (Tah-ess') 

Tosca  {Toss'-kah) 

Traviata  (Trah-veeah' '-tali) 

Tristan  und  Isolde  (Tris'-tahn  oondt  Ecs-sol'-deli) 

Trovatore  (T roh-vah-toh' -reh) 

Valkyrie  (Vahl-kuer'-reh ) 

"Werther  (Wear'-ter) 

Xerxes  {Z  ehr' -zehz) 

Pronunciations  of  Titles 

Adagio  lamentoso  (Ali-daW '-gce-oh  lah-ment-oh' -soh) 

Adelaide  (AJi-day-lah-ee'-day) 

Allerseelen  (Ald-lair-zay' -len) 

Amaryllis  (Ah-mahr-yV  -lees) 

Aubade  Provencale  (Oh-bahd'  Proh-vahng-sahV) 

Badinage  (Bali-dee-nalisW) 

Barcarolle  (Bahr-kah-rolV) 

Bergere  Legere  (Baihr-zhair'  Lay-zhair') 

Birchos  Kohanim  (Birr'-kos  Ko-hah-nim') 

Bleking  (Blay' '-king) 

Bourree  (Boo-ray') 

Brindisi  (Brin' '-dee-see) 

365 


Pronunciations 

Carrousel  (Kar-roh-seW) 

Czardas  ( Tshahr'-dahss) 

Die  Uhr  (Dee  Oor') 

Ein  Feste  Burg  (Eyn  Fes'-tay  Boorg) 

En  Bateau  (Ohng  Bali-toe') 

Ewig  Hebe  heimat  (Ay'-veeg  lee' -bay  hy'-maht) 

Exultate  Juste  (Ek-sool-tah'-tay  Yoos'-tay) 

Fackeltanz  ( Fall' -k  ell -t  alms) 

Filiae  Jerusalem  (Feel'-yaeh  Yay-roo'-zah-lem) 

Gavotte  (Gah-votf) 

Habanera  (Hah-bah-nay'  -rah) 

Heroi'que  (Ay-roh'-eek') 

Inflammatus  (I n-flali-mah'-toos) 

Intermezzo  (Inter-metz'-zoe) 

Kamarinskaia  (Kah-malir-ins-kali'-yah ) 

Kammenoi  Ostrow  (Kahm'-ayn-ohr  Oss-troff) 

Kawakora  Rohr  ad  re  (Kah-vdh-hoh'-rdh  Bohr  ah' -dray) 

Kinonikon  (Kee-non-e-kon) 

Kolebania  (Koli-lay-balin-yah) 

Krakowiak  (Krah-kohv'-yahk) 

Kyrie  Eleison  (Ku'-ree-ay  Ay-lay' -ee-sohn) 

Kyrie  Kekraka  (Ku'-ree-ay  Kay-krali-kah) 

La  Mandolinata  (Lah  Malin-cloh-lee-nali'-tah) 

Le  Cygne  (Lull  Seen'-yuh) 

Liebesfreud  (Lee'-bess-froyd) 

Liebestraum  (Lee'-bes-traum) 

Linda  Mia  (Lin'-dah  Mee'-ah) 

Marseillaise  (Malir-say-yaiz') 

Mazurka  (Mah-zoor'-kah) 

Mentra  Gwen  (Men'-trali  Gven') 

Molodka  (Moh-lod'-kah) 

Offertorio  e  communione  (Of-fer-toh'-re-oh  ay  com-moo-nee-o'-ney) 

0  sole  mio  (Oh  soh'-lay  mee'-oh) 

Oxdansen  (Oks'-dan-zen) 

Peer  Gynt  (Payr  Ginnt') 

Rakoczy  (Rah-koh'-tshee) 

Sehon  Rottraut  (Schoehn  Roht'-trawt) 

Sumer  is  icumen  in 

Tambourine  (Tahm-boor-een') 

366 


Pronunciations 

Tarantella  (Tahr-ahn-tel'-lah) 

Teresita  Mia  {T  ay-ray-zee' -tali  Mee-ah) 

Toreador  et  Andalouse  (Toh-ray-ah-dor'-ay  Ahn-dah-loose') 

Vanka  (Vahn-kali) 

Voce  di  Primavera  {V oh' -t shay  dee  Pree-mah-vay'-rah) 

Vogel  als  Prophet  (Foh'-gell  ahlss  Proh-fate') 

Zephir  (T  say' -fear) 

Zur  Ruh  (Tsoor  Roo') 


Index  of  Records  Used  as  Illustrations, 

Arranged  Alphabetically  as 

to  Composers 


Lesson 


XL 


Name  and  Title 

Adolfo. 

Birds  of  the  Forest 

Guido  Gialdini 
Arne. 

The  Lass  With  the  Delicate 

Air — Olive  Kline XXIX 

Bach.  B 

Gavotte  in  E  Major — Fritz  Kreisler.  IX 

Air  for  G  string —  (       IX 

Victor  Herbert's  Orchestra  \  XXV 

Ave  Maria — Johanna  Gadski IX 

Bourree  from  Violoncello  f       IX 

Suite  III— Victor  Concert  Orch  \  XXV 

Balfe. 

"The  Bohemian  Girl." 

Then    You'll    Remember 

Me — Harry  Macdonough. 
I  Dreamt  I  Dwelt  in  Marble 

Halls — Elizabeth  Wheeler  _ 

Come    Into   the    Garden,  f  V 

Maud— Evan  Williams  {  XXVIII 

Barnby. 

Voice  of  the  Western  Wind — 
Elizabeth  Wheeler,  Marguerite 

Dunlap  and  Elsie  Baker.  .  .   VI 
Beach. 

Year's  at  the  Spring — 

Johanna  Gadski XXIX 

Beethoven. 

Adelaide XIII 

Overture,  Leonore  No.  3 —      f      XIII 

Victor  Concert  Orchestra  I  XXVII 

(         VII 

*  Parts  I  and  II.     t  Part  III. 


XVIII 


Course        No.  Price  Page 


J   16835  $0.75    22 


I   17190   .75    51 


II   04132  1.00 


I   17100 


75 


II  S702G  2.00 

II  74307  1.50 

II)  35268*  1.25 

III  -  35268*  1 . 25 

IV  )  35269|  1 • 25 


78 


II  )  f  7S 

III}  70047  l-25{  i65 

II  81045  2.00  78 

II)  171S4  7r  f  78 

III  j  17184  '751  165 


IV   16398   .75    217 
II }  74109  1.50  {   ^ 


17 


130 

SO 

86 

169 

193 


368 


Index     of    Re 

Name  and  Title  Lesson 

"Fidelio." 

Aria. — Fateful  Moment — 

Otto  Goritz  .  .  .  VII 

Chorus  of  Prisoners \     vtt 

Bellini. 
"Norma." 

Mira  o  Norma — 

Ida  Giacomelli  and  Lina  Mileri .  XI 
Hear  Me,  Norma  (Clarinet  and 
Oboe) — Doucet  and  Christie. .  .XV 

La  Sonnambula XVI 

Ah!  fosco  ciel      (When   Day- 
light's Going) — Alia  Scala  Cho.XI 

Berlioz. 

Overture. — Carnaval  llo- 

main—  (         XVI 

Victor  Concert  Orchestra  \  XXVIII 

March  Rakoczy — Sousa's  Band  \  vvi 
J  \  XXI 

Bizet. 

"Carmen." 

Habanera — Emma  Calve  .  .  \  VV^X 

Toreador  Song —  C  V 

Emilio  de  Gogorza  and  Cho.  \     XIX 

(XXVI 
Boi'TO. 
"Mefistofele." 

Son  lo  Spirito — 

Marcel  Journet XXII 

Folletto,  Folletto— 
de  Tura,  Mansueto  and  Cho .  .  XXII 

Brahms. 

Lullaby — Elsie  Baker XX 

In  the  Church  Yard — 

Johanna  Gadski XX 

Hungarian  Dance —  f  XXI 

Fritz  Kreisler  \   XX 

Cadman.  C 

From  the   Land   of  the   Sky- 
Blue  Water — Florence  Hinkle.XXX 
The  Moon  Drops  Low — 

Janet  Spencer XXX 

369 


cords 

Course         No. 

Price 

Page 

IV  G4165 
jy  }    35245 

$1.00 
1.25  | 

193 

86 

193 

IV       02101 

.75 

202 

III  17174 
III 

.75 

152 

IV       02642       .75 


III}    35241 

I) 


I J 


IV 
IV 


II) 


1.25J 


31424     1.00 


jy}    88085 

I) 

II  [    88178 

IV 


74210 

87067 


II       17181 

II       S7099 
I) 


3.00  J 
3.00 

1.50 
2.00 

.75 
2.00 


64131      1.00 


I       60079 
I       64200 


.75 
1.00 


202 


98 

170 

12 

39 


15 
231 

16 
106 
231 


225 
225 

10S 

108 
39 

108 

54 
54 


Index     of     Re 

Name  and  Title  Lesson 

Chaminade. 

The  Flatterer-Franfc  La  Forge .  XXVII 

Charpentier. 

Depuis  le  Jour. — "Louise" — 

Florence  Hinkle.  .  .XXVIII 

Chopin. 

Funeral  March — Pryor's  Band .  .  XXII 
Prelude,  Op.  28,  No.  24 

Vladimir  de  Pachmann ....  XVI 
Mazurka  No.  2,  A  flat  Major—  f  XXIII 

Vladimir  de  Pachmann  \      XVI 
The  Minute  Waltz— Maud  Powell  ...  I 

Coleridge-Taylor. 

Deep  River  (Negro  Melody)  — 

Maud  Powell.  .  .  .XXX 
Onaway,  Awake,  Beloved — 

George  Hamlin.  .  .  .XXVIII 

Cm. 

Orientale. — Kaleidoscope — 

Efrem  Zimbalist ....  XXII 

Damare.                                             u 
The  Wren — Darius  Lyons XIV 

Damrosch. 

Danny  Deever — 

Percy  Hemus XXIX 

Danish. 

Ace  of  Diamonds — Victor  Band.  .XIV 

David. 

Thou  Brilliant  Bird— 

Luisa  Tetrazzini XI 

Debussy. 

Air    de     Lia.—  "  L' Enfant 

Prodigue"—  j       XXX 

Jeanne  Gerville-Reache  \  XXVIII 
En  Bateau — 

Charles  Gilbert  Spross ....  XXVII 

Dell'Acqua. 

The  Swallows — Lucy  Marsh II 

370 


cord 

s 

Course 

No. 

Price 

Page 

II 

70040  $1.25 

123 

IV 

70085 

1.25 

235 

III 

35157 

1.25 

159 

II 

I] 
II] 

I 

74260 
64224 
64076 

1.50 
1.00  | 
1.00 

98 
43 
98 
12 

I 

74246 

1.50 

54 

II 

74306 

1.50 

126 

II 

64261 

1.00 

113 

III 

16047 

.75 

150 

II 

35285 

1.00 

130 

I 

17083 

.75 

27 

I 

88318 

3.00 

22 

III  I 

IV  j 

88281 

3.00  { 

175 
235 

II 

5865 

.60 

123 

1 

70011 

1.25 

13 

Index     of     Re 

Name  and  Title  Lesson 

Donizetti. 

"Lucia  di  Lammermoor." 

Mad  Scene— Luisa  Tetrazzini  \       Jr\ 

{ IX 
Sextette — Victor  Opera  Sextette  \  yj 

Brindisi. — "Lucrezia  Borgia" — 

Ernestine  Schumann-Heink XI 

Dvorak. 

Als  die  alte  Mutter—  J       XX 

Lucy  Marsh  {  XXIV 

f  XXIV 
Humoresque — Mischa  Elman  j         jy 

Largo.— "New     World    Sym-  (XXIV 

phony"—  j       XV 

Victor  Concert  Orchestra  (  XXX 


cords 

Course         No. 


II 

IV 

I 


Price 


88299  $3.00 


70036 


IV  j 

IV       88188 

T{}    60078 

III}    74163 

11 ) 

III  -    35275 

III) 


1.25  j 

3.00 


.75-; 


1 .  50  , 


1 .  25  - 


Page 

100 

202 

20 

202 

202 

37 
117 
117 
141 
117 
152 
175 


Elgar.  E 

Pomp       and       Circumstance 

March— Pryor's  Band XXVIII 

English. 

Drink  to  Me  Only — 

Emilio  de  Gogorza ....  XXIX 
May  Pole  Dance— Victor  Band .  XXIX 
Morris  Dance — Victor  Band ....  XXIX 
Sumer  is  Icumen  in — Chorus VI 


II       35247     1 . 25 


I  74077 

I  17087 

I  17086 

II  35279 


1.50 
.75 
.75 
.75 


126 


51 
51 
51 

72 


Faure.  * 

Les  Rameaux — Pol  Plangon .  .  .  XXVII 


II       85020     3 . 00 


123 


Flotow. 

"Martha." 

Ah,  Those  Tears — Louise 

Homer  and  Bessie  Abbott.  .XVIII 

IV 

89009 

4.00 

217 

Spinning  Wheel  Quartet — 

Victor  Opera  Quartet ....  IX 

I 

70052 

1.25 

20 

Solo  Profugo — 

Werrenrath  and  Macdonough .  .  VII 

I 

31769 

1.00 

18 

Foster. 

Old  Folks  at   Home—              1 

Elsie  Baker 

Old  Kentucky  Home — 

XXX 

I 

16389 

.75 

54 

Harry  Macdonough  J 

371 


Index     of     Re 

Name  and  Title  Lesson 

French. 

Amaryllis — Victor  Orchestra. .  \     ^yv 

Aubade  Proven9ale — 

Fritz  Kreisler XVIII 

Bergere  L£gere — 

Edmond  Clement XVIII 

/-• 

Gabrieli.  ^ 

Filiae  Jerusalem — Sistine  Choir.  .  .  .  VI 

German,  Ed. 

Rolling  Down  to  Rio — 

Herbert  Witherspoon.  .  .  .XXVIII 

German. 

Children's  Christmas  Hymns — 

Kinderchor XIX 

Schon  Rottraut. — Ewig  liebc      f    VII 

Heimat — Neve  Quartet (  XIX 

Liebesfreud — Fritz  Kreisler XIX 

Gluck. 

Fatal  Divinita.— "Alceste"—         (   X 
Louise  Homer  \  IV 

Melodie,  Op.  26— Maud  Powell X 

I  Have  Lost  My  Eurydice — 

Ernestine  Schumann-H  eink ....  IV 
Gavotte  from  Paris  and  Helena —   (  X 
Victor  String  Quartet  \  X 
Ballet. — "Iphigenia  in  Aulis" 

Victor  Orchestra ....  X 

Goldmark. 

Bridal    Song.  —  Symphony, 

"The  Rustic  Wedding"—       f        X 
Vienna  Quartet  {  XXV 
Overture. — "Sakuntala" — 

Kryl's  Bohemian  Band ....  XXV 
Aria. — "Magic   Tones,"  from 

"Queen  of  Sheba" — Leo  Slezak .  XIX 

Gomez. 

Aria.— "II  Guarany"— 

Pasquale  Amato XVII 

Gossec. 

Tambourine — Mischa  Elman     ..  -     v 

872 


cords 

Course 

No. 

Price 

Page 

ul} 

16474 

$0.75 

34 

I 

64202 

1.00 

34 

I 

64223 

1.00 

34 

II 

71023 

1.50 

72 

11 

64151 

1.00 

126 

I 

63S53 

.75 

36 

n 
i  J 

63779 

.»{ 

18 
36 

i 

74196 

1.50 

36 

hi 

IV  } 

88286 

3.00  | 

81 

187 

ii 

64075 

1.00 

81 

IV 

88091 

3.00 

187 

III 
IIIj 

16950 

.,,) 

81 
146 

II 

17184 

.75 

81 

If 
III 

31772 

1 .  00  | 

21 

119 

II 

31832 

1.00 

119 

IV 

64115 

1.00 

219 

S7105     2.00 


nil  f"",s 


1    00 


32 

59 

1  II 


Index     of     R  t 

Name  and  Title  Lesson 

Gounod. 
"Faust." 

Trio. — Caruso,  Scotti  and  J  our  net. VII 
Trio. — Prison  Scene — 

Farrar,  Caruso  and  Journet.  .VIII 
Chorus. — "The  Redemp- 
tion"— Trinity  Choir XXIX 

Gregorian. 

Exultate  Justi — Sistine  Choir IV 

Kyrie  Eleison — Sistine  Choir IV 

Offertorio  e  Communione —  j     I 

Sistine  Choir .  .  {  I V 

Greek. 

Hymn  to  Apollo — Elsie  Baker Ill 

Kyrie  Kekraxa — Church  Choir Ill 

Kinonikon — Church  Choir Ill 

Gretry. 

Gavotte — Mischa  Elman ]     : 

Grieg. 

Cradle  Song — Aalrud  Tillisch .  .XXIII 
Ich  Liebe  Dich— 

Frederic  Gunster XXIII 

Norwegian  Wedding  March — 

Wilhelm  Bachaus ....  XXIV 
Peer  Gynt  Suite— Pryor's  Band .  XXIII 

Grodski. 

Sea  Gull's  Cry—  f       VI 

Mischailowa  and  Tugarinoff  {  XXII 

Handel.  H 

"II  Pensieroso." 

Aria— Sweet  Bird— Nellie  Melba. .  II 
Sweet  Bird  (for  Flute  and 

Oboe)     Doucet  and  Barone .  .  .  XV 
"Judas  Maccabaeus." 
Sound  an  Alarm — 

Evan  Williams ....  VIII 
"The  Messiah." 

The  Trumpet  Shall  Sound     r     ^X 
— Wither  spoon j  XXV 

Behold  and  See — Evan  Williams  .  Ill 

Hallelujah  Chorus — Victor        C     IX 

Chorus  with  Sousa's  Band  -  VIII 

(     III 


cords 

Course 

No. 

Price 

Page 

I 

95206 

$5.00 

18 

I 

95203 

5 .  00 

li) 

IV 

35075 

1 .  25 

236 

II 

61123 

1.00 

67 

II 

71001 

1.50 

67 

11 1 

61108 

1 .  00  | 

59 

67 

II 

35279 

.75 

64 

II 

63511 

.75 

64 

II 

63511 

.75 

64 

I-H   I-H 

I-H  I-H 

I-H 

64198 

1 .  00  | 

59 
141 

II 

63621 

.75 

115 

II 

16764 

.75 

115 

I 

71042 

1.50 

44 

II 

35007 

1.25 

115 

I{ 
Ij 

61143 

1 .  00  -J 

17 
41 

IV 

88068 

3.00 

1S1 

III 

17174 

.75 

152 

II 

74131 

1.50 

76 

III) 
III  J 

IV 

74080 
74126 

1 .  50  | 
1 .  50 

157 
165 
184 

"! 

31770 

1 .  00 

20 
76 

IV 

( 

184 

Index     of     Re 

Name  and  Title  Lesson 

Handel. 
"The  Messiah." 

He  Shall  Feed  His  Flock—      j  VIII 
Louise  Homer  \     III 
"Rinaldo." 

'Mid  Lures  and  Pleasures —       J  VII 
Ernestine  Schumann-Heink  (     II 
"Saul." 

Dead  March — Pryor's  Band  .  .  .  VIII 
"Xerxes." 

Largo — Charles  Gilibert \     |T 

Hasselmans. 

Prayer — Ada  Sassoli XI 

Am  Springbrunnen — Ada  Sassoli.. XI 

Haydn. 

Austrian  National  Hymn — 

Pryor's  Band .  .  .  XI 
"The  Creation." 

In  Native  Worth— George  Hamlin.  VI 
With  Verdure  Clad — Lucy  Marsh .  VI 

Menuett — Mischa  Elman XI 

My  Mother  Bids  Me— 

Geraldine  Farrar XI 

Symphony  (Surprise). 
Allegro .  — And  ante — 

Victor  Concert  Orchestra .  .  XXVI 
Minuet. — Finale 

Victor  Concert  Orchestra .  .  XXVI 
Herbert. 

Badinage — Vienna  Quartet X 

"Natoma" 

Dagger  Dance —  fXXIX 

Victor  Herbert's  Orchestra  -\  I 

(  XXIII 

HUBAY. 

Zephir — Maud  Powell IV 

HUMPERDINCK. 

"Hansel  and  Gretel." 

f  XXV 

Prelude — Pryor's  Band ->    TTX 

The  Old  Witch— Otto  Goritz .  j  ^™ 

Hexenritt  (Witches'  Ride)      f      II 

Albert  Reiss  \  XIX 

(        I 

374 


c  o  r  d  s 

Course         No. 


II 

IV 

III 

IV  j 

II 

II 

IV 

III 
III 


Price 


85103  $3.00' 


SMS!) 

16980 

74155 

70027 
70031 


3.00 


75 


f;n  I 


II       16083 


1.50 

1.25 
1.25 

.75 


II       88289     3.00 


Page 


76 
184 

75 
181 

76 

75 
181 

147 
147 


82 


IV 

74250  1 . 50 

191 

IV 

60055   . 75 

191 

II 

64135  1.00 

82 

82 


III 

35243 

1 

25 

168 

III 

35244 

1 

25 

168 

I 

31762 

1 

.00 

21 

1— 1  t— 1 

.25] 

130 

70049 

1 

136 

160 

III 

74188 

1 

.50 

141 

"I 

31853 

1 

.00-f 

119 

IV  j 

{ 

219 

III 

64164 

1 

.ool 

110 

IV  f 

I 

219 

n] 

( 

13 

64188 

1 

.00-] 

106 

IV) 

I 

178 

Index     of    Re 

Name  and  Title  Lesson 

HUMPERDINCK. 

"Koenigskinder." 

Thou  Innocent  One — 

Otto  Goritz XIX 

Hungarian. 

Czardas — Victor  Band XXI 

I 

Irish. 
The  Harp   That  Once   Thro' 
Tara's  Halls— 

John  McCormack XXVI 

Medley  of  Irish  Songs — 

Victor  Mixed  Chorus ....  XXVI 
The  Minstrel  Boy — 

John  McCormack ....  XXVI 
St.  Patrick's  Day—  (     XIV 

Victor  Band  \  XXVI 
Italian. 

Garibaldi  Hymn — Sousa's  Band .  .  XVI 
La  Mandolinata — Emilio  de  Gogorza .  II 
O  Sole  Mio — Emilio  de  Gogorza. .  .  .XV 
Tarantella.  — Napolitana — 

Enrico  Caruso .  .  .  XVI 
Tarantella — Victor  Band XIV 

Jewish.  ** 

Birchos  Kohanim— Sirota  and  Chorus  II 
Kawakores  Rohe  Ad  re — 

Sirota  and  Chorus ....  II 

Leoncavallo.  L 

"I  Pagliacci" 

(  XXVT 
Prologue — Antono  Scotti.  . .  -  ^£Tv; 

(  .A..X.I  V 

deLisle. 

Marseillaise  Hymn —  j     XIII 

Marcel  Journet  (  XVIII 

Liszt. 

Hungarian  Rhapsody  II —  j  XIII 

Pryor's  Band  \  XVI 

Liebestraum—  Victor  Herbert's  Orch .  .  X 

Loewe. 
Die  Uhr.— The  Watch— 

Arthur  van  Eweyk XIV 

375 


cords 

Course           No.           Price 

Page 

IV      64184  $1.00 

219 

I       17003       .75 

39 

I 

64259 

1.00 

47 

I 

31865 

1.00 

47 

I 

64117 

1.00 

47 

11 

17002 

,5{ 

27 

47 

I 

16136 

.75 

30 

I 

64160 

1.00 

13 

I 

74105 

1.50 

29 

I 

88355 

3.00 

30 

I 

17083 

.75 

27 

II 

64228 

1.00 

62 

II 

64231 

1.00 

62 

£} 

88029 

3.00  [ 

121 

228 

l\ 

74039 

1 .  50  | 

25 
34 

A} 

35122 

1 .  25  j 

25 

98 

I 

70046 

1.25 

21 

II 

68339 

1.25 

91 

Index     of     Re 

Name  and  Title  Lesson 


Luther. 
Ein'  feste  Burg  (A   Mighty 
Fortress)      Trinity  Choir   . 


XIX 

M.\<  Do  WELL.  M 

Woodland  Sketches — 

Victor  Herbert's  Orchestra.  .XXIX 

Mascagni. 

"Cavalleria  Rusticana." 

Intermezzo —  fXXVI 

Victor  Herbert's  Orchestra  \  I 

L      i 

Siciliana — Enrico  Caruso  ....  XXIV 

Massenet. 

Elegie — Emma  Eames IX 

Elegie — Alma  Gluck IX 

"Herodiade" 

Aria     (Fleeting  Vision) 

Emilio  de  Gogorza.  .XXVII 
"Jongleur  de  Notre  Dame" 

Legend  of  the  Sagebrush — 

Marcel  Journet .  .  .  XXVII 
"Thais" 

r     xxi 

Meditation — Maud  Powell  <  III 

(XXVII 

Mendelssohn. 
"Elijah." 

If  With  All  Your  Hearts— 

Evan  Williams .  .  .  IX 

It  Is  Enough — 

Herbert  Witherspoon IX 

But  the  Lord  Is  Mindful—  j  IV 

Ernestine  Schumann-H eink  \  IX 
"A  Midsummer  Night's  Dream." 

Overture —  C  XV 

Victor  Concert  Orchestra  -j  I 

(.  XXVIII 
0  Wert  Thou  in  the  Cauld 

Blast — Wheeler  and  Dunlap VI 

Farewell  to  the  Forest — 

Victor  Brass  Quartet.  .  .  .XVIII 

Spinning  Song — Renard  Trio  .  .     „TTT 


c  o  r  d  s 

Course  No.  Price 

I   1015!)  $0.75 


II   60053 


ib 


11 )  ( 

III  (■  G0074   .  75  \ 

IV  \  I 

IV  S7072  2 . 00 


III   88014  3.00 
III   87101  2.00 


IV   8S153  3.00 


IV   74123  1.50 


11 )  f 

III   74135  1.50- 

IV)  ( 


IV   74088  1 . 50 

IV   740S2  1 . 50 
Ij  88191  3.00  j 


11 ) 
III  [    31819 

HI )  ( 


1 .  00  - 


I    58G4   .00 

III   17210   .75 
l\    35159  1.25  { 


TTT 


Page 

30 
130 


121 
130 
I7S 
228 


145 
145 


233 


233 

110 
139 
233 


197 

197 

15 

197 

95 
136 
170 

17 

111 

154 

51 


Index     of    R 

Name  and  Title  Lesson 

Mendelssohn. 
Spring  Song — Victor  String  Quartet  XV 

Vladimir  de  Pachmann  \     -% 
Meyerbeer. 
"L'Africaine." 

March j  XXIII 

Victor  Herbert's  Orchestra  \       XII 

Fackeltanz — Pryor's  Band XXII 

"Les  Huguenots." 

Nobil  Signori — Louise  Homer .  .  .  XII 

Romanza — Gautier \  ^pzt 

Benediction  of  the  Swords —  C  XVII 
Marcel  Journet  with  I 

Metropolitan  Opera  Chorus  (    XII 
"Le  Prophete." 

Aria. — Ah!  Mon  Fils — 

Ernestine  Schumann-Heink .  .  XII 
Thy  Flow'ry  Banks— 

Wheeler,  Baker  and  Dunlap .  .  .  VI 

Minnesinger. 

Summertime — Reinald  W errenrath  -  J: 

Mozart. 

Concerto  for  Harp  and  Flute — 

Sassoli  and  Lemmone.^KlY 
Gloria  from  Twelfth  Mass— 

Lyric  Quartet VI 

"Don  Giovanni." 

Duet. — La  ci  darem  la  mano — 

Farrar  and  Scotti V 

Minuet — Victor  Band XII 

"Magic  Flute." 

Invocation — Pol  Plancon V 

A  Bird  Catcher  Am  I— Otto  Goritz .  V 
"Marriage  of  Figaro." 

Voi  che  sapete— Nellie  Melba   j  XI* 

Aria.— "Titus"— 

Ernestine  Schumann-Heink. XII 

Neapolitan.                                     ^ 
Santa  Lucia — Reed  Miller XVI 

;?77 


e  c  o  r  d  s 

Course  No.  Price 


IV 

III 

IV 

II 

IV 
IV 


IV 

IV 


i.75 


II       16371 
j}    74285     1.50 1 


Yy}    7006S 
III       31381 


85107 
45007 


3.00 
1.00 


74275     1 . 50 


IV       88187 
I       17106 


J j  17290 


III  70029 

IV  31589 


IV   89015 
II   17087 


3.00 
.75 


85042 
64163 


j^j  88067 
II   88196 


16SS2 


1.25 
1.00 


4.00 
1.00 

3.00 
1.00 

3.00 


Page 

95 
139 
146 


126 1      ]G0 
j      204 

1 . 00         159 


204 
145 
204 
100 
178 
204 


204 
17 


59 
71 


150 
191 


1S9 

83 

189 
189 

83 


(   189 
3 . 00    83 


Index     of     Re 

Name  and  Title  Lesson 

Nevin. 

Little  Boy  Blue— 

Evan  Williams XXIX 

Nicolai. 

Overture. — (From    "  Merry- 
Wives  of  Windsor") — 

Pryor's  Orchestra ....  XVIII 
Nightingale. 

Nightingale  Song — Nightingale  ....  XI 

Norwegian. 

Mountain  March — Victor  Band. XXIV 
Folk  Songs— Aalrud  Tillisch.  .  .XXIV 

Offenbach.  ^ 

Barcarolle.— (From  'Tales  of  f     VIII 
Hoffman")—  VIII 

Farrar  and  Scotti  (  XVIII 
Orchestra. 
Instruments  of  the  Orchestra —  f        II 
Victor  Concert  Orchestra  -     XII 
(XVII 
Orth. 

In  a  Clock  Store — Victor  Orchestra .  .  X 

p 

PlNSUTI.  * 

Spring  Song — Brass  Quartet.  .  .  .XVIII 

Polish. 

Krakowiak — Soprano XXIII 

Na  Wawel— Male  Quartet XXIII 

PONCHIELLI. 

"La  Gioconda." 

Voce  di  donna     (Angelic 

Voice)     Louise  Homer XXII 

Cielo  e  mar     (Heaven  and 

Ocean)       F.  Constantino. .  .  XXII 
Dance  of  the  Hours —  (  XXII 

Victor  Herbert's  Orchestra  (     VII 
Puccini. 
"La  Boheme." 

Musetta's  Waltz  Song — 

Gina  Viafora XXIII 

Quartet. — Addio  (Farewell, 
Sweet  Love)     Farrar, 
Caruso,  Viafora  and  Scotti.  XXIII 

*  Parts  I  and  II.     t  Parts  III  and  IV. 

378 


c  o  r  a 

's 

Course 

No. 

Price 

Page 

II 

64102  SI. 00 

130 

IV 

35270 

1.00 

217 

I 

64161 

1.00 

22 

I 
I 

17160 
63618 

.75 
.75 

44 
44 

IV) 

87502 
5754 

3.00 
60 

19 

144 

217 

III) 
III 

III) 

35236* 
35237f 

1 .  25 
1.25 

I 

137 

148 

I 

31618 

1.00 

21 

III   17216 


75 


I   63460   . 75 
I   63460   . 75 


IV   85104  3.00 

IV   64070  1 . 00 
JV\    70070  1.25  | 


IV   64085  1 . 00 


IV   96002  6 . 00 


155 

43 
43 


225 

225 
225 
143 


226 
226 


Index     of     Re 

Name  and  Title  Lesson 

Puccini. 

"Madam  Butterfly." 

Duet  of  the  Flowers—  f        VI 

Farrar  and  Homer  <  XXVI 
(  XXIII 
Un  bel  di  vedremo  (Some 

Day)    Geraldine  Farrar .  .  .  XXIII 
"Tosca." 

Cantabile  Scarpia — 

Antonio  Scotti.  .  .  .XXIII 
Aria. — Vissi  d'arte — 

Emma  Eames.  .  .  .XXIII 

Rameau. 

Nightingale's  Passion  Song —        (  VII 
AlmaGluckl    IV 

RlMSKY-KoRSAKOFF. 

"Snow  Maiden." 

Song  of  the  Shepherd  Lehl — 

A  ImaGluck...  XXII 

Rossini. 
"Stabat  Mater." 

Cujus  Animam — Evan  Williams. IX 
Cujus  Animam  (for  Trombone) 

Pryor  and  Band ....  XXI 
Inflammatus — 

Lucy  Marsh  and  Chorus .  .  .  IX 
"The  Barber  of  Seville." 

Largo  al  Factotum —  (  XVII 

Titta  Ruffo  \        X 

Una  voce  poco  fa —  f  I 

Marcella  Sembrich  \  X 

"William  Tell" 

Trio. — Paoli,  Cigada  and  Sillich.  .X 

Rubinstein. 

Melody  in  F — Victor  Herbert's  Orch .  .  I 
Toreador  et  Andalouse — 

Balalaika  Orchestra.  .  .XXII 
Kammenoi-Ostrow 

Victor  Herbert's  Orchestra .  .  XXII 

Russian  Dance. 

Kamarinskaia —  f    XIV 

Victor  Military  Band  \  XXII 


cords 

Course         No. 


Price 


II  [    89008  $4 . 00 
IV  j 

IV      88113     3.00 


IV      88122 
IV       88010 


II 
IV 


74249 


3.00 
3.00 


1 .  50  | 


II       64209     1 . 00 


IV  74093 

III  35157 

IV  70037 

IV  }  88391 

*V  j  88097 


1.50 
1.25 
1.25 

3.00 

3.00 


IV   92051  3.00 


I  60051 
II  60039 
II   70077 


.75 

.75 

1.25 


17001   .75 


Page 


17 
121 
226 

226 


226 
226 


75 

187 


113 

197 

158 

197 

100 
200 
178 
200 

200 

12 
113 
113 


27 
41 


379 


Index     of     Re 

Name  and  Title  Lesson 

Russian. 

Folk  Song. — Let  Joy  Abide — 

Marie  Michailowa .  .  .  XXIV 
Two       Folk       Songs.  —  (1.) 

Vanka.     (2.)  Kolcbalnid—    (      XV 

Albert  Janpolski  \  XXII 

Russian     Folk     Songs. — (1.) 

Molodka.      (2.)     Sun     in 

the  Sky,  Stop  Shining—       f  XXII 

Balalaika  Orchestra  \  XX I V 

Russian  Fantasia — Herbert  Clarke  .XX 

Saint-Saens.  S 

Le  Cygne — Josef  II oilman \  I 

Marche  Heroi'que — 

Pryor's  Band.  .  .  .XXVI] 
"Samson  et  Dalila." 

Pause,  My  Brothers — 

Charles  Dalmores XXIX 

Chorus — Ladies'  Chorus.  .  .  \  __„TV 

(  XXIX 

My    Heart    at    Thy    Sweet 

Voice— Louise  Homer XXIX 

Tarantella  (for  Flute  and  Clar- 
inet)    Barone  and  Christie.  .  .XVI 

Schubert. 

Ave  Maria — Josef  H oilman VI 

Erl  King — 

Ernestine  Schumann-Heink .  .XIV 

Serenade — Evan  Williams,  f  XIV 

D' Almaine  and  Lyons  {       V 

Who  is  Sylvia? — Emma  Eames.  .  .XIV 

The  Wanderer — 

Arthur  van  Eweyk.  .  .  .XIV 

Schubert  (Franz). 

The  Bee — Maud  Powell I 

Schumann. 

Song.-The  Two  Grenadiers—   f  XVIII 
Reinald  Werrenrath  \       XV 
Vogel  als  Prophet — 

Vladimir  de  Pachmann .  .  .  .XV 
Gypsy  Life — Victor  Mixed  Chorus. .  IX 
Return  of  Spring — Evan  Williams. XV 

380 


cords 

Course  No.  Price 

III   61181  $1.00 
j|  G3153   .75  | 


]   70034  1.25  J 
111   16313   .75 


III  64046  1.00 
II  35010  1.25 

IV  87087  2.00 

iv)  1718U  -75{ 

IV  88199  3.00 

III  17174  .75 

III  64001  1.00 


II 
II 

III 
II 


I) 
II  i 

II 

I 

II 


88342  3 . 00 

64093  1 . 00 

35140  1.25 

88013  3.00 


II   08339  1 . 25 


1   64076  1.00 


31740  1.00 

74285  1 . 50 

35254  1 . 25 

64217  1.00 


Page 


162 

29 

41 


41 
162 
157 


142 

123 

236 

17 

236 

236 

153 

142 

91 

91 

142 

91 

91 
12 


34 
95 

95 
20 
95 


Index     of     Re 

Name  and  Title  Lesson 

Scotch. 

Scotch  Medley  March — 

Sutcliffe  Troupe.  .  .  .XXVIII 
Highland  Fling—  f         XIV 

Victor  Military  Band  \  XXVIII 
Jock  o'  Hazeldean — 

John  Young XXVIII 

Scotch  (Old). 

Loch  Lomond — 

Evan  Williams.  .  .  .XXVIII 

Scots,  Wha  Bae  \\T  Wal- 

lace  Bled — Werrenrath.  .  .  \  ..."A.,. 

(  XXVIII 

SlLCHEK. 

The  Loreley  (1837)   Elsie  Baker.  .XIX 

Smetana. 

'The  Bartered  Bride." 

Overture — Pryor's  Baud  ...  -  ,,.„„ 
J  I  \\  II 

Comedian's  March — 

Pryor's  Band I 

Aria. — Jenik — Otokar  Marak.  .XVII 

Terzetto— 

Klanova  and  Sir.  Pollert  .  .  .XVII 

"Hubicka." 

Cradle  Song— Alma  Gluck.  .  .  \  ^™ 

(    XX 

S'ODERMAN. 

Swedish  Wedding  March —  (      III 

Pryor's  Band  \  XXV 
Spindler. 

Spinning  Wheel — John  Lemmone  .XIV 

Spanish. 

Two  Spanish  Selections — 

Municipal  Band  of  Barcelona .  .  XVII 
Teresita  Mia — Emilio  de  Gogorza  .XVII 
Linda  Mia — Emilio  de  Gogorza  .  .XVII 

Strauss,  Johann. 

Voce  di  Primavera  (Voice  of 

Spring)     Guido  Gialdini XI 

f      IV 
Marcella  Sembrich  l  yttt 

Strauss,  Richard. 

Allerseelen — Reinald  Werrenrath .  XXV 


cords 

Course  No.  Prii 


I       17140  $0.75 
||    17001        .75 


16961 


75 


I   61210  1.00 
j]  16961   .75  | 


I   171  SI   .75 


j^j  3514S  1.2:,  j 

II  63302  . 75 

IV  16205  .75 

IV  16208  .  75 

11 J j  64213  1.00  j 

J j  35159  1.25  j 

III  60026  .75 


I  63353  . 75 
I  64043  1 . 00 
I   64042  1 . 00 


I   16S35   .75 
n{]  88019  3.0o| 

II   17179   .75 


Page 


50 

27 
50 

50 


50 

2!) 
50 


36 


37 
215 

5!) 
215 

215 

149 
37 

14 
45 

150 


32 
32 
32 


22 

15 
149 

119 


381 


Index     of     Re 

Name  and  Title  Lesson 

Swedish  Dance. 

Bleking — Victor  Band XXV 

Carrousel  or  "Flying  Horses" — 

Victor  Band XIII 

Swedish. 

Reap  the  Flax—  Victor  Band  .  .  .  .XIV 
Mountain  Polka — Victor  Band  .  .  XXV 
Swedish  Folk  Songs — 

Torkel  Scholander XXV 

Oxdansen — Victor  Band XXV 


cor 

ds 

Course 

No.           Price 

Page 

I 

17085  $0 

.75 

45 

I 

17086 

.75 

25 

I 

17002 

.75 

27 

I 

17085 

.75 

45 

I 

63429 

.75 

45 

I 

17003 

.75 

45 

TlTL.  l 

Serenade. — Flute  and  Viola — 

Lyons  and  Reschke ....  V 
Serenade. — Flute  and  'Cello — 

Heine  and  Lyons ....  V 

Troubador. 

When  the  Nightingale  Doth  Sing — 

Reinald  Werrenrath V 


TSCHAIKOWSKY. 

Marche  Slave   (Op.  31) 

Victor  Herbert's  Orchestra 


XXII 

VII 

XVII 

XXX 

Overture  1812.    (Op.  49) 

Pryor's  Band XXI 

"  Pique  Dame  " 
Duet— 
Michailowa  and  Tugarinoff .  .  XVII 

"Pathetic  Symphony" 
Adagio  Lamentoso — 

Pryor's  Band XXII 

Vannah.  V 

Good  Bye,  Sweet  Day — 

Janet  Spencer II 

Verdi. 
"Aida." 

Celeste  Ai'da — Enrico  Caruso.  .  .XXI 

Duet.— The  Fatal  Stone—        (  XIX 

Caruso  and  Gadski  (XXI 

Triumphal  March—  (    XX 

Vessellas  Band  1  XXI 


III       31337 
III       35150 


I 
III 
III 
III 


III 
IV 


1.00 
1.25 


II       17176       .75 


70050     1 . 25 


II       31739 
IV       61136 


1.00 
1.00 


II       31800     1.00 


I       64189     1.00 


IV      88127 
J*l    89028 


3.00 
4.00 


35265     1 . 25 


142 
142 

71 


41 
143 
154 
175 

110 


215 


113 


13 


223 
106 
223 
157 
223 


3S2 


Index     of    Re 

Name  and  Title  Lesson 

"Ernani." 

Ferma  Crudele  (Stay  Thee,     f  XX 
My  Lord)     Bernacchi,  -j  VIII 

Colazza  and  de  Luna  (_  XX 
O  Sommo  Carlo  (Oh,  Noble 
Carlos)     Grisi,  Sangiorgi, 

Cigada  and  Chorus .  XX 
"Otello." 

Iago's  Credo — Antonio  Scotti  .  .XXI 
Willow  Song — Frances  Alda.  .  .XXI 
"Rigoletto." 

La  Donna  e  mobile  (Woman 

is  Fickle)     Enrico  Caruso ....  XX 
Monologo — Mario  Sammarco .  .  .  XX 
"La  Traviata." 

Aria. — Ah!  Fors'  e  Lui — 

Marcella  Sembrich ....  XX 
"II  Trovatore." 

Duet. — Home  to  our  Moun-     f  VIII 

tains — Homer,  Caruso,  <  XIX 

Exposito  and  Colazza  (_  XX 

Miserere — Pry  or  and  Keneke .  .  XXI 

von  Weber. 

Concertino  for  Clarinet — 

Charles  Draper ....  XVI 
"Der  Freischutz." 

Overture—  (        XIX 

Alia  Scala  Orchestra  {  XXVIII 
Aria.— Prayer  of  Agatha— Corsi .  VIII 
Caspar's  Air — Marcel  Journet .  .  VIII 
Through  the  Forest — 

Daniel  Beddoe VIII 

"Oberon" 

Overture — Pryor's  Band XIX 

w 

Wagner. 

"The  Flying  Dutchman." 

Overture — Pryor's  Band XIII 

Recitation     and    Aria. — In 
Ocean's  Deepest  Wave — 

OttoGoritz.  .XIII 
Senta's  Ballad — 

Johanna  Gadski XIII 

"Tannhauser." 

Dich,  theure  Halle  (Hail,  Hall 

of  Song)     Johanna  Gadski .  .  XIII 

383 


cords 

Course         No. 

IV 

I  [    3517 
IV 


IV 
IV 


IV 
IV 


III 
III 
IV 
IV 

IV 

III 


Price 


.25 


IV       35170     1.25 


88030 

88214 


87017 
92041 


3.00 
3.00 


2.00 
3.00 


IV       88018     3.00 


n     16811 

jV^    89018 
III       16371 


.76  f 

4.00  ( 
.75 


III       35182     1.25 


62636       . 75 


62636 
64236 

74244 

316S9 


.75 
1.00 

1.50 

1.00 


223 

19 

221 


221 

223 
223 


221 

221 


221 

106 

19 

221 


153 

156 
170 
195 
195 

195 

195 


IV 

31787 

1.00 

207 

IV 

74230 

1.50 

208 

IV 

88116 

3.00 

207 

IV 

88057 

3.00 

208 

Index     of     Re 

Name  and  Title  Lesson 

Wagner. 
"Tannhauser." 

Pilgrims'  Chorus — 

Victor  Brass  Quartet.  .XYI1I 
Wolfram's  Aria  (Evening 

Star)     Emilio  de  Gogorza .  .  .  XIII 

"Lohengrin." 

Vorspiel  (Prelude)  C        III 

La  Scala  Orchestra  \  XXIX 

(     XIV 

Elsa's  Dream — Johanna  Gadski .  XIV 

Swan  Song — Leo  Slezak XIV 

Bridal  Chorus—  I  XVIII 

Victor  Opera  Chorus  (     XIV 
Lohengrin's  Narrative — 

Evan  Williams.  .  .  .XIV 
"Rheingold" 

Weiche,    Wotan,    Weiche 
(Waver,  Wotan) 

Ernestine  Schumann-Heink .  XV 

"Die  Walkure." 

Siegmund's  Love  Song —       (  I 

Ricardo  Martin  \       XV 

Ho-yo-to-ho—  f  XVIII 

Johanna  Gadski  -      XIII 

(       XV 

Ride  of  the  Valkyries—         f  XVIII 

La  Scala  Orchestra  <  XXIX 

(        XV 

WTotan's  Farewell — 

Clarence  Whitehill XV 

"Die  Gotterdammerung." 
Siegfried's  Horn  Call — 

A.  Horner XIX 

Siegfried's  Death  March—    (        XV 
Victor  Concert  Orchestra  {  XXIX 
Immolation  Scene — 

Johanna  Gadski XV 

"Die  Meistersinger." 

Walter's  Prize  Song—  f  XVIII 

Lambert  Murphy  {     XVI 

"Tristan  and  Isolde." 

Prelude — La  Scala  Orchestra  .  .  .  XVI 
Liebestod — Johanna  Gadski .  .  .  XVI 

384 


cords 

Course  No. 


Price 


Page 


III 

17133 

$0.75 

155 

IV 

88154 

3.00 

208 

III) 

III 

31779 

1,00  ] 

139 

172 

IV  j 

209 

IV 

S8038 

3.00 

209 

IV 

61203 

1.00 

209 

III 

IV  j 

31846 

1.00  | 

104 
209 

IV       76026     1 . 50 


209 


IV 

88092 

3.00 

211 

II) 

IV) 

88276 

3 .  00  | 

59 
211 

n) 

I 

104 

III 

87002 

2.00- 

149 

IV  \ 

( 

212 

11 ) 

( 

104 

111 

62693 

.75 

172 

IV  S 

( 

211 

IV 

74305 

1.50 

212 

III 

17174 

.75 

156 

IV) 

III  J 

35246 

1 .  25  | 

212 
172 

IV 

88185 

3.00 

212 

II) 

IV  j 

70080 

1 .  25  j 

104 
214 

IV 

68210 

1.25 

214 

IV 

88058 

3.00 

214 

Name  and  Title 

Wagner. 

"Parsifal." 

Good  Friday  Spell — 

Herbert  Witherspoon . 
Procession  of  the  Knights — 
Pryor's  Band 
Welsh. 

All  Through  the  Night—  j 

Evan  Williams  \ 

Men  of  Harlech — Male  Chorus. 

Mentra  Gwen — Evan  Williams . 


Index     of     Records 

Course  No.  Price 


Lesson 


...XVI 

XVI 

XXIII 

XIII 
XXVII 
XXVII 
XXVII 


WlENIAWSKI. 

Souvenir  de  Moscow — 

Mischa  Elman .  .  .  .XXIII 

Wilhelm. 

The  Watch  on  the  Rhine  (1854) 

Reinald  Werrenrath . . .  XIX 

Hugo  Wolf. 

Zur  ruh',  zur  ruh'!     (To  rest, 

to  rest)  Reinald  Werrenrath .  .  .  XXV 

Wolf-Ferrari. 

Intermezzo.  —  (From     "  The 
Jewels  of  the  Madonna") 

Victor  Concert  Orchestra  .  .  .XXIV 
Duet. — (From  "Secret  of 
Suzanne") 

Victor  Concert  Orchestra .  .  .  XXIV 


IV       74144  $1.50 
j^j    31735     1.00 1 


74100     1.50 


xi { 

I       17180       .75 
I       64141     1.00 


I  74051  1.50 

I  16882  .75 

II  17179  .75 

IV  35270  1.25 

IV  89057  4.00 


Page 


214 
214 
160 

25 

48 

48 
48 


43 

36 

119 

228 

228 


Zabel. 
At  the  Fountain- 


-Ada  Sassoli 


XI       III       70031     1.25 


147 


385 


Index  of  Composers 


*  Indicates  composers  from  whose  works  illustrations  are  given 

Page 

Adam,  Adolphe 230 

Adam  de  la  Halle 70,  178 

Adam,  Louis 202 

Albert,  Eugene  d' 218 

Ambrose,  St 65 

Arensky,  Anton 112 

*Arne,  Thomas 125 

Auber,  Daniel 99,  280 

Aulin,  Tor 114 

*Bach,  Johann  Sebastian 36,  77,  78,  107 

163, 165, 184, 196 

*Balfe,  Michael  William 125,  216 

*Beach,  Mrs.  H.  H.  A 129 

*Beethoven,  Ludwig  von 80,  85,  86,  87,  89,  92,  107 

143, 160, 168, 191, 192, 193 

*Bellini,  Vincenzo 95,  99,  100,  102,  201,  202,  207 

Benedict,  Sir  Julius 125 

*Berlioz,  Louis  Hector 94,  96,  120,  139,  143,  151 

152, 169, 170, 197,  201 

*Bizet,  Georges 22,  106,  122,  174,  230,  231 

Bohm,  Theobald 150 

Boieldieu,  Francois 99 

*Boito,  Arrigo 223,  224 

Bossi,  Marco 120 

*Brahms,  Johannes 94, 107,  108, 109, 118,  236 

Bruch,  Max 118,  236 

Bruckner,  Anton 118 

Bruneau,  Alfred 122,  123 

Bull,  Ole 44,  114 

Busoni,  Ferruccio 120 

Carey,  Henry 125 

Carissimi,  Giacomo 74,  180,  182,  183 

386 


Index     of     Composers 

Page 

Cavalieri,  Emilio 76,  182 

Cavalli,  Francesco 74, 179, 180 

Cesti,  Marcantonio 74,  180,  216 

Chabrier,  Alexis 122 

Chadwick,  George 127 

*Chaminade,  Cecile 122 

♦Charpentier,  Gustave 122,  223 

Chausson,  Ernest 122 

Cherubini,  Luigi 95,  99,  199 

*Chopin,  Frederic 42,  94,  95,  96,  97, 170 

Cimarosa,  Domenico 199 

*Coleridge-Taylor,  Samuel 125 

Converse,  Frederick 129,  237 

Cortez,  Ferdinand 199 

Costa,  Michael 125 

Cowen,  Frederic 125 

*Cui,  Cesar 40,  111 

*Damrosch,  Walter 129 

*Debussy,  Claude 109,  123,  173,  174,  175,  223 

Delibes,  Leo 231 

♦Donizetti,  Gaetano 95,  99,  100,  102,  201,  207 

Dubois,  Theodore 122,  235 

Dukas,  Paul 123,  234 

♦Dvorak,  Antonin 110,  116,  117,  141,  173,215,228 

♦Elgar,  Edward  William 110,  125,  236 

♦Faure,  Jean  Baptiste 122 

Fibich,  Zdenko 117 

♦Flotow,  Friedrich  von 216 

Foote,  Arthur 129 

Franck,  Cesar 109,  121, 122, 174,  235 

Franco  of  Cologne 67 

♦Gabrieli,  Andrea 73 

Gade,  Niels  Wilhelm 110,114 

Gallupi,  Baldassare 198 

♦German,  Edward 125 

Glazounow,  Alexander 110, 112. 

387 


Index     of     Composers 

Page 

Glinka,  Michael Ill,  214 

*Gluck,  Christoph  Wilibald 78,  81,  99,  101,  185 

186, 187,  198, 199,  200 

*Goldmark,  Carl 106,  109,  118,  218 

*Gossec,  Francois 141 

Goudimel,  Claude 72,  204 

*Gounod,  Charles 106,  122,  123,  229,  235 

Gregory,  Saint 65,  120 

*Gretry,  Andre 141 

*Grieg,  Edvard  Hagerup 44, 110,  114,  115,  236 

Guido  of  Arezzo 67 

I  Guilmant,  Alexandre 122 

Hale vy,  Jacques 99 

*Handel,  George  Frederick 76,  81,  82,  124,  157, 165 

181, 182, 183, 184, 190, 196 

*Haydn,  Franz  Joseph 36,  81,  82,  86,  89, 145, 165,  167,  168,  190 

♦Herbert,  Victor 129,  236 

Herold,  Louis  Joseph 99,  202 

Hiller,  Ferdinand 94 

Hucbald  of  Flanders 67 

*Humperdinck,  Engelbert 106, 109, 118,  218,  237 

Humphrey,  Pelham 74,  124,  181 

Indy,  Vincent  d' 122, 174,  234 

Jensen,  Adolf 94 

Joachim,  Joseph 107 

Jomelli,  Nicolo 198 

Jongleurs 68 

Keiser,  Reinhard 75 

Kjerulf,  Halfdan 114 

Lachner,  Franz 94 

Lalo,  Edouard 231 

Lassus,  Orlando 72 

La wes,  Henry 124,  181 

Lawes,  William 124, 181 

^Leoncavallo,  Ruggiero 121,  223,  227,  228 

388 


Index     of     Composers 

Page 

*Liszt,  Franz 38,  94,  95,  97,  103,  107,  116 

118,169,170,197,208,209 

Loeffler,  Charles 129 

Logroscino,  Nicolo 198 

Lortzing,  Gustav  Albert 216 

Lully,  Jean  Baptiste  de 74,  124,  181,  185 

*MacDowell,  Edward  Alexander 110,  127,  129 

Mackenzie,  Alexander 125 

Mahler,  Gustav 118 

Martucci,  Giuseppe 120 

Marschner,  Heinrich 94,  98,  100,  195 

*Mascagni,  Pietro 120,  223,  227,  228 

Mason,  Lowell 127 

*Massenet,  Jules 109,  122,  232,  233 

Mehul,  Etienne  Nicolas 99,  199,  202 

*Mendelssohn,  Felix  Bartholdy 89,  93,  94,  122,  125 

158,  169,  196,  197 

*Meyerbeer,  Giacomo.  ...  95,  100,  102,  159,  199,  203,  204,  207,  227,  229 

*Minnesingers 70,  104,  161 

Minstrels 68,  161 

Monteverde,  Claudio 74,  140,  161,  162,  179 

MOUSSORGSKY,  MODESTE Ill 

*Mozart,  Wolfgang  Amadeus 80,  83,  84,  86,  89,  99,  167,  168 

187,  188,  189,  190,  218,  228,  229 

Neri,  St.  Philip 75, 182 

*Nevin,  Ethelbert 129 

*Nicolai,  Otto 216 

*Offenbach,  Jacques 219 

Paderewski,  Ignace  Jan 42 

Paganini,  Niccolo 95 

Paine,  John  Knowles 129 

Parker,  Horatio 129,  238 

Parry,  Charles  Hubert 125 

Paisiello,  Giovanni 199 

Pergolesi,  Giovanni 198 

Peri,  Jacopo 73,  179 

389 


Index     of     Composers 

Page 

Perrin,  Pietro 74,  185 

Perosi,  Don  Lorenzo 120,  235 

Piccini,  Niccolo 199 

*Pinsuti,  Ciro 125 

Planquette,  Robert 216 

*Ponchielli,  Amilcare 223,  224 

♦Puccini,  Giacomo 119,  121,  224,  225,  226,  227,  237 

Purcell,  Henry 74,  124,  181 

Rachmaninoff,  Sergei 110,  112,  113 

Raff,  Joachim 94 

*Rameau,  Jean  Philippe 74,  185 

Randegger,  Alberto 125 

Ravel,  Maurice 123 

Reger,  Max 118,  119 

Reinecke,  Carl 94 

Remenyi,  Edouard 108 

Reyer,  Ernest 231 

Rheinberger,  Joseph 118,  228 

*Rimsky-Korsakoff,  Nicholas Ill 

Rinnuccini,  Ottavis 73,  179 

♦Rossini,  Gioachino 38,  98,  99,  100,  197,  199,  200,  201 

♦Rubinstein,  Anton 40,  110,  111 

♦Saint-Saens,  Camille 109,  123,  174,  235 

Salieri,  Antonio 199 

Scarlatti,  Alessandro 74,  179,  180,  181 

Schillings,  Max r 118,  219 

♦Schubert,  Franz  Peter 88,  90,  92,  94,  108,  170 

♦Schumann,  Georg 118,  119,  236 

♦Schumann,  Robert  Alexander 34,  89,  93,  94,  96 

107,  108,  170,  197,  207 

Schutz,  Heinrich 75,  183 

Scriabine,  Alexander 112 

Sgambatti,  Giovanni 109,  120 

Sibelius,  Jean 110,  114,  115 

Sinding,  Christian 44,  114,  115 

Sjogren,  Emil 110, 114 

♦Smetana,  Friedrich 37,  116.  215 

390 


Index     of     Composers 

Page 

*S6dermann,  August 114 

Spinelli,  Nicola 223,  224 

Spohr,  Ludwig 94,  98,  100,  195 

Spontini,  Gasparo 95,  99,  100, 199 

Stanford,  Charles  Villiers 125 

Stradella,  Alessandro 74,  180 

*Strauss,  Johann 219 

*Strauss,  Richard 106,  109,  118,  173,  174,  175,  218 

Suk,  Josef 117 

Sullivan,  Arthur  Seymour 125,  316 

Suppe,  Franz  von 216 

Svendsen,  Johan 114,  115 

Thomas,  Ambroise 230 

Thomas,  Arthur  Goring 125 

Thomas,  Theodore 127,  128 

Tinctor,  Johann 72 

Tosti,  Francesco  Paulo 125 

*Troubadours   68,  161 

*Tschaikowsky,  Peter  Iljitch 108, 110,  112,  113,  173,  214 

*Verdi,  Giuseppe 105,  106,  109,  120,  199;  219,  220 

221, 222, 223, 224, 225, 226,  227 
Volkmann,  Robert 94 

*Wagner,  Richard 70,  71,  80, 101, 102,  103,  104,  105,  106,  109 

118,  146,  158,  171,  172, 205, 206, 207 

208,  209,  210,  211,  212,  213,  217,  219 

Wagner,  Siegfried 219 

*Weber,  Carl  Maria  von 80,  92,  93,  98, 100,  170,  194,  195,  202 

Weingartner,  Felix 118 

Widor,  Charles 122 

Willaert,  Adrian 72,  161 

*Wolf,  Hugo 118,  119 

*Wolf-Ferrari,  Ermanno 110,  121,  224,  227,  228,  237 


391 


Index  of  Choruses  Suggested 


Page 

Adoramus  Te  (Palestrina) 57 

America 24 

And  the  Glory  of  the  Lord,  "Messiah"  (Handel) 185 

Angel,  The  (Rubinstein) 113 

Annie  Laurie 18,  50 

Anvil  Chorus,  "Trovatore"  (Verdi) 18, 121 

Antioch  (Old  Hymn)  (Handel) 75 

Ash  Grove 49 

Auld  Lang  Syne 51 

Austrian  National  Hymn  (Haydn) 25,  82 

Ave  Maria  (Gounod) 134 

Baal,  We  Cry  to  Thee,  "Elijah"  (Mendelssohn) 134,  198 

Ballade  of  Jeanne  d'Arc  (Old  French) 57 

Battle  Hymn  of  the  Hussites 38 

Beautiful  Springtime    (Home  to  our  Mountains),  "II  Trova- 
tore" (Verdi) 19,  121 

Believe  Me  If  All  Those  Endearing  Young  Charms  (Moore) .    13 

Bell  Doth  Toll,  The 35 

Bells  of  Aberdovey  (Old  Welsh) 22 

Ben  Bolt  (Kneass) 16 

Blacksmith,  The,  "Marriage  of  Figaro"  (Mozart) 85,  190 

Blow,  Bugle,  Blow  (Tennyson-Neidlinger) 130 

Blow,  Gentle  Gales  (Bishop) 126 

Blue  Danube  Waltz  (Strauss) 134 

Boat  Song,  "Oberon"  (von  Weber) 95,  196 

Bosnian  Shepherd's  Song 29,  40 

Break,  Break,  Break  (Tennyson-Neidlinger) 130 

Bridal  Chorus,  "Lohengrin"  (Wagner) 210 

Broken  Ring,  The  (Gluck) 81,  187 

Brooklet  in  the  Wood  (Rheinberger) 120 

Build   Thee    More   Stately   Mansions     (Zuni  Indian  Melodies) 

(Arthur  Farwell) 130 

By  Babylon's  Wave  (Gounod) 134 

392 


Index     of     Choruses     Suggested 

Page 

Canst  Thou  Count  the  Stars? 37 

Captive  (From  Art  Songs)  (Handel) 75 

Chorale  (Michael  Praetorius,  1586-1610) 57 

Chorale  (Johann  Kriiger) 57 

Chorus  from  Finale,  "Lucia  di  Lammermoor"  (Donizetti) 203 

Campbells  Are  Comin' 51 

Columbia,  the  Gem  of  the  Ocean 25 

Come,  O  Creator  (Beethoven) 88 

Come  Unto  Him,  'The  Messiah"  (Handel) 77 

Come  Unto  These  Yellow  Hills 53 

Come  Where  My  Love  Lies  Dreaming 55 

Come,  Ye  Disconsolate  (von  Weber) 196 

Cossack's  Song,  The 29 

Country  Wedding,  The 38 

Cradle  Song  (Favorite  of  Jenny  Line!) 46 

Cradle  Song  (Schubert) 91 

Dannebrog,  The  (Denmark) 27 

Daybreak  (Faning) 134 

Dixie  Land 55 

Early  to  Bed,  "Round" 35 

Estudiantina  (Lacome) 134 

Evening  Hymn  of  St.  Ambrose  (Piericini) 57 

Evening  Star,  "Tannhauser"  (Wagner) 208 

Fading,  Still  Fading  (Portuguese) 33 

Farewell  to  the  Forest  (Mendelssohn) 95 

Father,  Hear  the  Prayer  We  Offer  (Go,  Forsake  Me)  (Mozart)  85 

Flow  Gently,  Sweet  Afton 50 

Forest,  The  (Rheinberger) 120 

Forth  to  the  Battle 49 

Freedom,  Our  Queen  (Holmes- John  K.  Paine) 130 

Gloria,  "Twelfth  Mass"  (Mozart) 134,  191 

God  Save  the  King 53 

Good  Night,  "Martha"  (Flotow) 217 

Greeting  (Brahms) 108 

393 


Index     of     Choruses     Suggested 

Page 

Gypsy  Chorus,  "Bohemian  Girl"  (Balfe) 217 

Gypsies'  Song,  The  (Beethoven) 194 

Haakon's  Cradle  Song  (Grieg) 44,  111 

Hail,  Bright  Abode,  "Tannhauser"  (Wagner) 208 

Hallelujah  Chorus,  "Messiah"  (Handel) 185 

Hail,  Columbia 27,  55 

Hark,  Hear  the  Drums  Beat,  "Barber  of  Seville"  (Rossini) ..  .200 

Harvester,  The  (Old  Russian) 42 

Harp  That  Once  Thro'  Tara's  Halls 47 

Haste  Thee,  Nymphs,  "L' Allegro"  (Handel) 182 

Heart  Bowed  Down,  "Bohemian  Girl"  (Balfe) 217 

Hear  Me,  Norma!  "Norma"  (Bellini) 203 

Heavens  are  Telling,  "Creation"  (Hadyn) 191 

Help  Us,  Lord  (Bach) 79 

He,  Watching  Over  Israel,  "Elijah"  (Mendelssohn) 198 

Highlands,  The  (Boieldieu) 101 

Highland  Cradle  Song  (Schumann) 95 

Holy  Night 37 

Home,  Sweet  Home  (Payne-Bishop) 16 

Horn,  The  (Old  Swedish) 46 

How  Can  I  Leave  Thee? 37 

How  Lovely  Are  the  Messengers,  "St.  Paul"  (Mendelssohn)  134,  198 
Hunting  Song,  "Freischiitz"  (von  Weber) 196 

I  am  a  Fowler,  "Magic  Flute"  (Mozart) 190 

I  Dreamt  I  Dwelt  in  Marble  Halls,  "Bohemian  Girl"  (Balfe) .  126 

Inflammatus,  "Stabat  Mater"  (Rossini) 200 

In  Autumn  (Gade) 116 

In  Old  Madrid  (Trotere) 134 

Italian  Hymn  (Giardini) 20,  31 

I  Would  that  My  Love  (Mendelssohn) 17 

Jerusalem,  "Gallia"  (Gounod) 134 

Jolly  Miller,  The 53 

Juanita 33 

Largo,  "Xerxes ' '  (Handel) 77,  182 

Larghetto  (Beethoven) 88 

Last  Night  the  Nightingale  Woke  Me  (Kjerulf) 44 

Lass  of  Richmond  Hill 24, 53 

394 


Index     of     Choruses     Suggested 

Page 

Last  Rose  of  Summer  (Flotow) 217 

La  Paloma  (Spanish) 33 

Legend  of  the  Bells.  "Chimes  of  Normandy"  (Planquette) .  .35,  217 

Lift  Thine  Eyes,  "Elijah"  (Mendelssohn) 198 

Lift  up  Your  Heads  (Gluck) 81, 187 

List  the  Trumpets'  Thrilling  Sound,  "Huguenots" 101,205 

Listen,  Lordlings 53 

Lord  is  My  Shepherd,  The 24 

Lord  God  of  Abraham,  "Elijah"  (Mendelssohn) 198 

Lost  Chord  (Sullivan) 126 

Low-Back'd  Car  (Lover) 47 

Lullaby  (Brahms) 14,  108 

Maiden's  Song,  A  (Old  Bohemian) 118 

Marching  Through  Georgia 55 

Maryland 55 

Marseillaise    35 

Masaniello  (Auber) 101 

Massa  Dear ' 55 

May  Song 43 

Melody  in  F  (Rubinstein) 113 

Memorial  March  (Chopin) 98 

Men  of  Harlech 49 

Merry  Life  (Denza) 31,  134 

Miller's  Wooing  (Faning) 126 

Minnelied  (Brahms) 108 

Minstrel  Boy  (Old  Irish) 25 

Minuet  (Mozart) 85 

Miserere,  "II  Trovatore"  (Verdi) 121 

Molly  Bawn 47 

Morning  Hymn  (Beethoven) 194 

Morning  Songs,  "Samson  and  Delilah"  (Saint-Saens) 124 

My  Dear  Old  Mother 44 

My  Faithful  Johnny  (Beethoven) 88 

My  Heart's  in  the  Highland 50 

My  Jesus,  As  Thou  Wilt  (von  Weber) 95,  196 

My  Love  Dwelt  in  a  Northern  Land  (Elgar) 126,  135 

My  Old  Kentucky  Home 14 

My  Salvation's  Tower  (Hebrew  tune,  sung  at  Feast  of  Judas 
Maccabseus) 57 

395 


Index     of     Choruses     Suggested 

Page 

National  Aib  of  Sweden  (Charles  John,  Our  Brave  King) 46 

National  Hymn  of  Norway 44 

\  \/aheth  (Gounod) 107 

Night  Picture,  A  (Cesar  Cui) 113 

\i  )\v  the  Day  is  Over  (Barnby) 12 

O  Captain,  My  Captain  (Walt  Whitman-Edgar  Stillman  Kelley) .  130 

Ode  to  Joy,  "Ninth  Symphony"  (Beethoven) 191 

O,  for  the  Wings  of  a  Dove  (Mendelssohn) 135 

O,  Isis  and  Osiris  (Lovely  Peace),  "Magic  Flute"  (Mozart).  .  .  .189 

O,  Italia,  Beloved,  "Lucrezia  Borgia"  (Donizetti) 101,  135,  203 

Olav  Trygvason  (Grieg)  Ill 

Old  Black  Joe 55 

Old  Oaken  Bucket  (Woodworth) 13 

O,  No,  John  (Old  English) 25 

Over  Hill,  Over  Dale  (Mendelssohn) 95 

Over  the  Summer  Sea  (La  donna  e  mobile),  "Rigoletto"  (Verdi).  178 

( )  Wert  Thou  in  the  Cauld  Blast  (Burns-Mendelssohn) 17 

O  Worship  the  King  (Haydn) 82 

Peasant  Wedding  (Sodermann) 116 

Pigtail,  The 24 

Pilgrim's  Chorus,  "Tannhaiuser"  (Wagner) 208 

Piper,  The  (Bohemian  Folk  Song) 118 

Pirates'  Song,  "Pirates  of  Penzance"  (Sullivan) 217 

Poets'  Tomb,  The  (Gade) 116 

Polish  Fatherland  Song 43 

Polish  National  Song  (Old  Folk  Song) 43 

Praise  Ye  the  Father  (Gounod) 107 

Praise  Ye  the  Lord  (Saint-Saens) 124 

Red  Sarafan,  The  (Lwolf) 42 

Red,  White  and  Blue 55 

Robin  Adair 50 

Rule  Britannia  (Arne) 53 

Russian  National  Hymn 42 

Sandman  (Brahms) 108 

Santa  Lucia 31 

Scotland's  Burning,  "Round" 35 

Scots,  Wha'  Hae  (Old  Scotch)  (Burns) 12,  27 

396 


Index     of     Choruses     Suggested 

Page 

See,  the  Conquering  Hero  Comes,  "Judas  Maccabaeus"  (Handel)  77 

See  What  Grace  (Gluck) 81,  187 

Serenade  (Bohemian  Air) 38 

Serenade,  "Fidelio"  (Beethoven) 194 

Seymour  (von  Weber) 196 

Silent  Now  the  Drowsy  Bird  (Barcarolle  from  "Tales  of  Hoff- 
man")  (Offenbach)  19 

Sing,  Smile,  Slumber  (Gounod) 135 

Skies  Resound,  The  (Beethoven) 88,  194 

Skylark,  For  Thy  Wing  (Smart) 22 

Soldiers'  Chorus,  "Faust"  (Gounod) 135,  178 

Song  of  a  Thousand  Years 55 

Song  of  the  Pilgrim  (Bach) 79 

Song  of  the  Ghost  Dance   (Zuni  Melodies,  arranged  by  Arthur 

Farwell) 130 

Song  of  Summer,  A  (Max  Bruch) 120 

Songs  my  Mother  Taught  Me    (Dvorak) 215 

Soprano  Solo,  Act  I,  "Daughter  of  the  Regiment"  (Donizetti) ..  203 

Spinning  Chorus,  "Flying  Dutchman"  (Wagner) 105,  208 

Star  Spangled  Banner 24,  55 

Sun  Smiles  in  Beauty,  The  (Old  Welsh  Air — Ash  Grove) 49 

Sweet  and  Low  (Barnby) 20 

Swiss  Battle  Song,  "William  Tell"  (Rossini) 200 

Tannenbaum 37 

Then  You'll  Remember  Me,  "Bohemian  Girl"  (Balfe) 126 

Thou  Art  Like  a  Flower  (Liszt) 98 

Thou  Sublime,  Sweet  Evening  Star,  "Tannhauser"  (Wagner) . .  135 

Three  Blind  Mice,  "Round" 35 

Thy  Flow'ry  Banks  (O,  Maiden  Fair),  "Huguenots"  (Meyerbeer) . 205 

To  God  on  High  (Ancient  Church  Tune) 57 

To  Nature  (Swedish  Folk  Song) 46 

Troika,  The 42 

Unfold  Ye  Portals,  "Redemption"  (Gounod) 107,  135 

Unto  Thee  Will  I  Sing  (Bach) 79 

Vesper  Hour,  The  (Cesar  Franck) 124 

Vikings,  The    (Faning) 126,  135 

Vow,  The 37 

397 


Index     of     Choruses     Suggested 

Pa<;e 

Wake,  O  Sweet  Rose  (Schumann) 95 

Waltz,  "Faust"  (Gounod) 135 

Wanderer,  The  (Schubert) 91 

Wanderer's  Night  Song  (Rubinstein) 113 

War  Songs  of  the  Normans  (Ancient  Tune) 57 

War  Song  of  the  Hussites  (Old  Bohemian) 118 

Wearing  of  the  Green 27,  47 

Wedding  March,  "Lohengrin"  (Wagner) 135 

Welcome,  Sweet  Springtime  (Rubinstein) 16 

Welcome  the  Morning  (Grieg) Ill 

Welcome  to  Spring  (Purcell) 126 

Wha'll  Be  King  But  Charlie?  (Old  Scotch) 25,  51 

When  Daylight's  Going,  "La  Sonnambula"  (Bellini) 203 

Who  Treads  the  Path  of  Duty  (Mozart) 190 

Winter  Hath  not  a  Blossom,  The  (Reinecke) 95 

Wild  Rose,  The  (Schubert) 91 

Wind,  Gentle  Evergreen,  "Round"  (Old  English) 35 

With  Flowers  of  the  Best  (Massenet) 124 

With  Joy  th'  Impatient  Husbandman,  "The  Seasons"  (Haydn)  .  .191 

With  Sheathed  Swords,  "Damascus"  (Costa) 126 

With  Verdure  Clad,  "The  Creation"  (Haydn) 191 

Yankee  Doodle 55 

Zion,  Awake  (Costa) 126 

Zionward  (Come,  Thou  Fount)  (Old  Freedsman) 29 

Cantatas  Suggested 

Building  of  the  Ship 135 

Crusaders  (Gade) 135 

Erl  King's  Daughter  (Gade) 135 

Fair  Ellen  (Max  Bruch) 135 

Gallia  (Gounod) 135 

Joan  of  Arc  (Gade) 135 

King  Rene's  Daughter  (Smart) 135 

Lady  of  Shalott,  The  (Tennyson-Bendall) 135 

Melusina  (Hoffman) 135 

Rose  Maiden  (Cowen) 135 

Ruth  (Gaul) 135 

Wreck  of  the  Hesperus  (Anderton) 135 

398 


Index  of  Illustrations 


Pagk. 

Angel  with  Lute  (da  Forli) 7 

Angel  with  Lute 59 

Angel  with  Tambourine  (Fra  Angelica) 7 

Angels  with  Lute  and  Viol  (Fra  Bartolommeo) 74 

Apollo 64 

Assyrian  Instruments 60,  61 

Bach,  John  Sebastian: 

Portrait 77 

Birthplace 78 

Morning  Prayers  in  House  of  Bach 79 

St.  John's  Church,  where  Bach  is  Buried 78 

Town  Pipers  at  Period  of  Bach 163 

Bantock,  Prof.  Granville 125 

Beethoven: 

House  in  Bonn,  where  Beethoven  was  born 87 

Birthroom 87 

Birthplace  from  Courtyard 87 

Manuscript 87 

Portraits 192 

Bellini,  Vincenzo 201 

Berlioz,  Hector 96 

Bishop,  Sir  Henry  Rowley 124 

Bizet,  Georges 231 

Brahms,  Johannes 107 

Brass  Choir 155 

Bruch,  Max 236 

Bull,  Ole 114 

(  JhADWICK,  (  iEORGE  W 127 

(  'haminade,  Cecile 122 

(  "iiarpentier,  Gustave 234 

(  'llERUBINI,  LUIGI 99 

Chopin,  Frederic  Francois 96 

Church  of  St.  Ambrose,  Milan 65 

399 


Index     of     Illustratio n s 

p  \ci 

(  in  Kin  of  St.  Catherine,  Nurnberg 69 

(  Jhurch  of  St.  Jullien,  Paris,  1330 68 

(  !oleridge-Taylor,  Samuel 126 

(  loLLECTION    OF    PAUL    DE    Wet,  LEIPSIC I  10 

(  Jolon]  \i.   Days 55 

Court  of  the  Lions,  Alhambra  32 

<  'kywth,  Two  Ex  vmples  of 161 

Cui,  Cesar 112 

Czardas,  Dancing  the 39 

Debussy,  Claude 234 

Decorations  in  Minstrels'  Hall,  Wartburg  Castle 70 

Die  Wartburg 105 

Donizetti,  Gaetano 202 

Dvorak,  Anton  in 117 

Egyptian   Dance 62 

Elgar,  Sir  Edward  125 

English  May  Festival  52 

"Eurydice,"  Title  Page  179 

"Eurydice,"  Firsi    Page 180 

Folk  Instruments 162 

Franck,  Cesar 122 

French  Representation  of  Old  Grecian   Dance 63 

Glazounow,  Alexandre  112 

Glinka,  Michael  111 

Gluck,  Christopher  Willibald 80,  186 

Gounod,  Charles 229 

Gregorian  Antiphonal,  First  Pack  66 

Gregory  Dictating  His  Antiphonal 67 

Grieg,  Edvard  Hagerup  114 

Guido  of  Arezzo 67 

Handel,  George  Frederic: 

Portraits 76,  184 

The  Water  Music 164 

Haydn,  Franz  Josef 82 


Index      of     Illustrations 

Page 

Herbert,  Victor 237 

Humperdinck,  Engelbert 119 

Indy,  Vincent  d' 234 

Irish  Jig 46 

Jester,  The  (Franz  Hals) 24 

Leoncavallo,  Ruggiero 227 

Liszt,  Franz 97 

MacDowell,  Edward 127 

Manuscript  (Fourteenth  Century)  of  Hymn  to  St.  John  the 

Baptist 66 

Manuscript,  Specimen  of  Hucbald 66 

Manuscripts,  Old 66 

Mascagni,  Pietro 228 

Mason,  Lowell Frontispiece 

Massenet,  Jules 232 

Mendelssohn-Bartholdv,  Felix 93 

Meyerbeer,  Giacomo 203 

Minuet — French 35 

Mozart,  Wolfgang  Amadeus: 

Portrait 1 88 

Birthroom 84 

House  in  Salzburg  where  Mozart  was  Born.  .84 

Statue -84 

Nurnberg,  The  Home  ok  the  Meistersingers  .69 

Oriental  Sword  Dance 28 

Parker,  Horatio 237 

Percussion   Instruments 160 

Perosi,  Don  Lorenzo 120 

Personification  of  Music  with  the  Auxiliaries,  the  Parts 

and  the  Musicians 72 

Puccini,  Giacomo 220 

Purcell.  Henry ,  L81 

401 


/  //  d  e  x     of      III  ii  s  t  r  a  t  i  o 


n  s 


Page 

Hachm  \M\niK.  Sergei 113 

Rameau,  Jean  Philippe 73,  185 

Reger,  Max 1  IS 

Rossini,  GlOACHiNO 199 

l!i  binstein,  Anton 109 

Russian  Dance 40 

Russian  Peasant  Dance 20 

s  u\  i   Cecilia  (Raphael) lf> 

s  unt-Saens,  Camille 123 

Salterello — Roman  Dance 30 

Schubert,  Franz  Peter: 

Portrait 89 

Birthplace  in  Vienna 90 

House  in  which  Schubert  Died 90 

Grave 90 

Schumann,  Robert 93 

Scotch  Dance,  "The  Reel  of  Tulloch" 49 

Scotch  Sword  Dance 50 

Sibelius,  Jan 115 

Sinding,  Prof.  Christian 115 

Singing  Boys  (Delia  Robia) 18 

Smetana,  Friedrich 215 

Spanish  Fandango 33 

Spohr,  Louis 194 

Stradivari,  Antonio 141 

String  Choir 138 

Strauss,  Richard 173 

Student  Orchestra,  Richmond,  Ind 132 

Sullivan,  Sik  Arthur 216 

Tablature  of  the  Meistersingers  of  Nurnberg 69 

Tarantella 30 

Tarantella — Neapolitan   Dance 31 

Terpsichore 63 

Thomas,  Theodore 128 

Thomas  Orchestra,  Seating  Arrangement  of 160 

Town   Piper  (Durer) 36 

Tschaikowsky,  Peter  Ilytsch 174 

402 


/  //  d  ex     of      1  I  I  ii  s  t  r  a  t  i  o  n  s 

Page 

Verdi,  Giuseppe 222 

Virginia  Reel 53 

Wagner,  Wilhelm  Richard: 

Portrait 101 

"Wahnfried"  Home  in  Bayreuth 205 

Grave  in  Bayreuth 200 

Wagner  Theatre  at  Bayreuth,  showing  Hidden  Orchestra 171 

Die  Meistersinger: 

Eva  Bestows  the  Laurel  Wreath 213 

Lohengrin: 

Opera  House  in  Weimar  where  "Lohengrin"  was  produced .  208 

Vorspiel  to  "Lohengrin"  (Fantin-Latour) 209 

Lohengrin's  Departure 210 

Tannhauser: 

Elizabeth  at  the  Shrine 207 

Tannhauser  on  his  Way  to  Wartburg 102 

Tannhauser  at  the  Wayside  Gross 102 

Weber,  Garl  Maria  von 92 

von  Weber  Statue  in  Dresden 195 

Willaert,  Adrian 71 

Wolf,  Hugo 119 

Wood-Wind  Ghoir 149 


4(« 


General  Index 

1JAGE 

Foreword 3 

Preface 5 

Coi  rse  I     The   Principles  of   Music 10 

Coi  rse  II — The   History  of   Music 56 

Course   III     The   Orchestra 133 

<  !ourse   I  V     The  Opera 176 

A\  u.ysks 239 

Bibliography 348 

Examples  of  Form 354 

Pronunciations 361 

[ndex   of  Records 36s 

[ndex   of  Composers 386 

[ndex  of  Choruses  Si  ggested 392 

(  \ \tatas    Suggested 398 

Index  of  Illustrations 399 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 

Los  Angeles 
This  book  is  DUE  on  the  last  date  stamped  below. 


fiB?D  CD-URB 


JUL 


1961 


NOV  04  1384 
WKDECLali 


Form  L9-Series  4939 


UC  SOUTHERN  REGIONAL  LIBRARY  FACILITY 


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©12w 

1913 


